Definitely my favorite composer from the second school of vienna! What amazingly amazing works Berg was able to create, a shame he didn't live so long to compose more.
This music comes out of Mahler, but it is impossible to say how Mahler would have reacted to music like it, had he not died in 1911. He was already flummoxed by Schoenberg's First Quartet some years earlier. Things were moving very fast indeed in those years.
The three orchestral pieces of Berg suffer from a kind of injustice. They are certainly as important as for instance the pieces of Schoenberg op. 16.. The first piece is known by its beginning at the percussion solo - which is not so long by the way. The "Marsh" is typical of the art of Berg to "digest" various musical material and compose highly complex pieces with them. From that point of view, he is very close to Mahler.
I think that this is easily one of my most favorite orchestral work ever composed. I tried to find something that could at least try to emulate this but I just cannot. This work is like warping romanticism with such of the more complex writing that existed at that time. I am kinda sad that much is not talked about with this composition. I think this is just fantastic.
Your time might still come ;-)...the music of the Second Viennese school obviously was not that easily palatable back then, and even many years later....however, in 2023, with the world looking as it does, I have no doubt that some musicians who are trying to find a way to describe the present will come back to the languages that Schönberg, Berg, Webern and other composers used.
The transparency which von Karajan achieves! This music is reputedly heavily orchestrated but here it never gets clogged - the relatedness with the immediately subsequent Wozzeck score becomes immediately obvious. Berg was different from Schönberg and Webern in that he never despaired of wide structures, never went into the minuscule, aphoristic. Gigantic more-than-Brucknerian arcs determine Lulu. The chamber concerto reworks the structure of these three pieces, greatly intensifying complexity. Schönberg’s genuine interfaces with these works are Erwartung, Die Glückliche Hand and Die Jakobsleiter, even less popular than Berg’s op.6. Remaining alive, Mahler would have followed them there, because his own ultimate structures (the end of Das Lied von der Erde, the first movement of the 10th) are close in the spirit - and also because the miniaturist/aphoristic bend of Schönberg/Webern was exceptional: other contemporary “Germanic” composers like Zemlinsky, Schreker, somewhat later Hartmann, Henze did not give up on the large form - and history proved them right. Post-WWII music embraced gigantic forms, admittedly for "thinner" ensembles: Boulez was never a miniaturist, nor Stockhausen, Nono, just to name a few, nor Zimmermann or Cage or Feldman. That type of challenge remained. In parallel, less pan- or atonality-oriented musical worlds idem ditto: Messiaen, Weinberg, Pettersson... Ferneyhough now!
Way back in 1960, when I first came to Phila. for Grad School, I was thrilled to see that these pieces were programmed by Ormandy and the Philadelphia Orch. However, when the time came, they only played the firs two movts. Apparently the challenge of preparing the final "march" was more than Ormandy and Co. could handle within the bounds of the rehearsal time allotted.. So... the THRE PIECES became "TWO PIECES." Don't know if they've ver yet performed the complete set.
The story that Ormandy underestimated the need for rehearsal of the third piece is interesting. Doesn't an Ormandy know what a given score will require - with his own orchestra, yet? Ormandy and his orchestra did in fact do the complete set in the seventies, in a program that also included Bernstein's Serenade.
I agree. There was nevertheless an open question between Mahler and Schoenberg's pupils - the question of "suspended tonality". Sometimes Mahler did not understand fully Schoenberg any more - which did not prevent him from defending his music strongly.
Oh I Sooo - Dammed Agree ! That is why I call Mahler the Father od Modern music ! Berg loved him - he stole his conducting baton. Was it Berg who said of him - 'there is only one Sixth - despite the Pastoral' !
"...a contention with his teacher Arnold Schönberg, who was dissatisfied with his pupil’s artistic development in the Altenberg lieder..." Really, Schönberg must've been mad or deaf to find the Altenberg lieder wanting.
i mean the prelude does somewhat resemble prometheus; however it is much less grand than Prometheus for reference you could listen to scriabin-nemtin mysterium for an idea of how he would have sounded if he lived longer
There's not a tune ya can hum. There's not a tune ta go bum-bum-bum-deebum I need a tune ta go bum-bum-bum-deebum Gimme a melodie. Why can'tcha thrown 'em a crumb? What's long with lettin' tap their toes a bit? I'll let ya know when Stravinsky has a hit. Gimme a melodie....
@@Twentythousandlps Stephen who? I'll have you know I wrote those lyrics myself, just like I wrote these: Isn't it rich? Isn't it queer? Losing my timing this late In my career....
Mayonnaise on an escalator It's going upstairs so see ya' later Bye-bye, to the sky I wanna see you as you're getting so high You know you're not gonna stay You're escalating away Out of my life And out of my day Look at me now I wanna see you again I give you my vow my mayonnaisey friend Mayonnaise Mayonnaise Mayonnaise Mayonnaise Mayonnai-ai-aise Mayonnai-ai-aise Mayonnaise on an escalator
Definitely my favorite composer from the second school of vienna! What amazingly amazing works Berg was able to create, a shame he didn't live so long to compose more.
This music comes out of Mahler, but it is impossible to say how Mahler would have reacted to music like it, had he not died in 1911. He was already flummoxed by Schoenberg's First Quartet some years earlier. Things were moving very fast indeed in those years.
TROMBONISTS- 0:49 is where the High E flat alto trombone excerpt begins.
18:38 for the section excerpt
Yesss
The three orchestral pieces of Berg suffer from a kind of injustice. They are certainly as important as for instance the pieces of Schoenberg op. 16.. The first piece is known by its beginning at the percussion solo - which is not so long by the way. The "Marsh" is typical of the art of Berg to "digest" various musical material and compose highly complex pieces with them. From that point of view, he is very close to Mahler.
I think that this is easily one of my most favorite orchestral work ever composed. I tried to find something that could at least try to emulate this but I just cannot.
This work is like warping romanticism with such of the more complex writing that existed at that time. I am kinda sad that much is not talked about with this composition. I think this is just fantastic.
Your time might still come ;-)...the music of the Second Viennese school obviously was not that easily palatable back then, and even many years later....however, in 2023, with the world looking as it does, I have no doubt that some musicians who are trying to find a way to describe the present will come back to the languages that Schönberg, Berg, Webern and other composers used.
In terms of sound material, it is similar to isang yun's orchestra work. Of course, they had very different compositions, but..
Berg’s music continually inspires me as a composer myself. Bartok and Lutoslawski are two other composers’ whose works provide fertile inspiration.
Love this music beyond words
The transparency which von Karajan achieves! This music is reputedly heavily orchestrated but here it never gets clogged - the relatedness with the immediately subsequent Wozzeck score becomes immediately obvious. Berg was different from Schönberg and Webern in that he never despaired of wide structures, never went into the minuscule, aphoristic. Gigantic more-than-Brucknerian arcs determine Lulu. The chamber concerto reworks the structure of these three pieces, greatly intensifying complexity. Schönberg’s genuine interfaces with these works are Erwartung, Die Glückliche Hand and Die Jakobsleiter, even less popular than Berg’s op.6. Remaining alive, Mahler would have followed them there, because his own ultimate structures (the end of Das Lied von der Erde, the first movement of the 10th) are close in the spirit - and also because the miniaturist/aphoristic bend of Schönberg/Webern was exceptional: other contemporary “Germanic” composers like Zemlinsky, Schreker, somewhat later Hartmann, Henze did not give up on the large form - and history proved them right. Post-WWII music embraced gigantic forms, admittedly for "thinner" ensembles: Boulez was never a miniaturist, nor Stockhausen, Nono, just to name a few, nor Zimmermann or Cage or Feldman. That type of challenge remained. In parallel, less pan- or atonality-oriented musical worlds idem ditto: Messiaen, Weinberg, Pettersson... Ferneyhough now!
Great masterpiece! Thanks for uploading with the score!
I love these pieces so much!
Such a brilliant piece.
Proto-spectral.
Way back in 1960, when I first came to Phila. for Grad School, I was thrilled to see that these pieces were programmed by Ormandy and the Philadelphia Orch. However, when the time came, they only played the firs two movts. Apparently the challenge of preparing the final "march" was more than Ormandy and Co. could handle within the bounds of the rehearsal time allotted.. So... the THRE PIECES became "TWO PIECES." Don't know if they've ver yet performed the complete set.
The story that Ormandy underestimated the need for rehearsal of the third piece is interesting. Doesn't an Ormandy know what a given score will require - with his own orchestra, yet? Ormandy and his orchestra did in fact do the complete set in the seventies, in a program that also included Bernstein's Serenade.
Thank you for this posting - nothing is too fast to be audible
I can tell from reading Berg's letter to Schoenberg that Berg knew he surpassed Schoenberg with this work.
Thank you for uploading this! I am glad I found you.
Fantastic!
Never heared these pieces before! Thanks for uploading :)
Timon de Nood you are a dancing queen 👸 you are really similar to this song
Who is here 2021?!
Ich ich ich!!!!
2022😂
2023.😎
2024
20072. 12h13
This is how I imagine Mahler would have written music if he were still alive by 1914.
Quotenwagnerianer I think that's a fair prediction, the 2nd Viennese practically carried over from Mahler, so it's not out of the question!
I agree. There was nevertheless an open question between Mahler and Schoenberg's pupils - the question of "suspended tonality". Sometimes Mahler did not understand fully Schoenberg any more - which did not prevent him from defending his music strongly.
Oh I Sooo - Dammed Agree ! That is why I call Mahler the Father od Modern music ! Berg loved him - he stole his conducting baton. Was it Berg who said of him - 'there is only one Sixth - despite the Pastoral' !
And for me Henze follows in the Mahler-Berg wake ! Have you read the book 'Bruckner - Mahler - Schoenberg' ?
I doubt it.
18:39 for trombones
ベルクの弟子がこのスコアを見て、師匠に「マーラーの交響曲とシェーンベルクの曲を同時に鳴らしたような曲です」と感想を述べた
ベルクは満足そうだった
そうした曲
In its core, it is an avangarde symphony
Lovely content! Keep it up!
Capolavoro assoluto❤❤❤❤❤❤
i loved how everyone is Hauptstimme at the end. Does not sound happy?
the end of the II looks exrtremely hard for the dirigent,if he wants to give all entries
"...a contention with his teacher Arnold Schönberg, who was dissatisfied with his pupil’s artistic development in the Altenberg lieder..." Really, Schönberg must've been mad or deaf to find the Altenberg lieder wanting.
Well, that's a possibility.
15:01 Wozzeck act I scene II
Bergの曲ですね。初期の作品なのかもしれませんがまさにこれがBergの曲という感じ。アップありがとうございました。12音音階で作曲するとこんな感じにどんな曲もなってしまうのでしょうかね。無調感が形式的になっているそういうのも興味深い。
Here because I read these pieces are considered a huge influence on orchestral scoring for film. Ah yup, I'm hearing that!
This is what I imagine would happen to Scriabin if he stayed alive longer.
:')
i mean the prelude does somewhat resemble prometheus; however it is much less grand than Prometheus
for reference you could listen to scriabin-nemtin mysterium for an idea of how he would have sounded if he lived longer
9:55
rare piece
As Maestro Abbado elocuently put it, third movement is music for a catastrophe
Abbado was actually quoting Karajan, both equally fine conductors of Berg's music.
The marsch reminds of Mahler's fifth
ベルクの親友のヴェーベルンのパッサカリアみたいな重厚で複雑な後期ロマン派作品
リヒャルト・シュトラウスのエレクトラやサロメにも近い響き
師匠のペレアスとメリザンドにも近い響き
Impossible to follow in my cellphone 🤦🏻♂️
カラヤンの指揮の特徴は新ウイーン楽派３人の曲と相性が良い
冷酷
優雅
非情
高貴
精密
これらの指揮の特徴は、新ウイーン楽派の作曲家３人の作風と共通している
16:30
0:50
Они в наличии имеется!. Будет время чтобы ее. Ее бреннт !. Бы....., .. ...!... . На,...... ООО. .
WWI Mahler
Perhaps too much Mahler? Particularly of Mahler 9.
Yes! But why Mahler had such an iinfluence on him?
The mahler elements are the only good parts lmao
There's not a tune ya can hum.
There's not a tune ta go bum-bum-bum-deebum
I need a tune ta go bum-bum-bum-deebum
Gimme a melodie.
Why can'tcha thrown 'em a crumb?
What's long with lettin' tap their toes a bit?
I'll let ya know when Stravinsky has a hit.
Gimme a melodie....
Thank you, Stephen Sondheim. Your point is?
@@Twentythousandlps Stephen who? I'll have you know I wrote those lyrics myself, just like I wrote these:
Isn't it rich? Isn't it queer?
Losing my timing this late
In my career....
Mayonnaise on an escalator
It's going upstairs so see ya' later
Bye-bye, to the sky
I wanna see you as you're getting so high
You know you're not gonna stay
You're escalating away
Out of my life
And out of my day
Look at me now
I wanna see you again
I give you my vow my mayonnaisey friend
Mayonnaise
Mayonnaise
Mayonnaise
Mayonnaise
Mayonnai-ai-aise
Mayonnai-ai-aise
Mayonnaise on an escalator
C est etonnant comme ca respire mieux que Schoenberg....
😂 absurd
kid
1:07