Like Picasso, Schoenberg was highly skilled and accomplished in the conventional art. However, both men were drawn by the mystery of the unknown and untapped to transcend convention and perhaps touch something greater. Picasso with the 4th dimension and non-Euclidean geometry, Schoenberg with the liberation of tonality in its whole unbounded sweep, to "taste the air of an alien planet".
It's funny that you should say that, considering how much more conservative Schoenberg was. Serialism may have been a new thing, but it was more of a progression from Wagner, Debussy, Scriabin, Roslavets, etc. than it was intended to be a total departure, as seen in Schoenberg's own literature on music theory. His later music still used the same musical devices as before, e.g. motifs, leitmotifs, counterpoint, and other such conventional musical devices, and he always was fixated on Romance period thematic material.
''liberation of tonality'' I love that. Schoenberg was so pissed when people called his music ''atonal'' because he saw it as twelve-tone music rather than atonal music. If anything, it was more tonal than the work of his predecessors. If he was alive to read your comment, you'd certainly make him happy!
First loved this when I was a teenager. Not knowing anything about music theory, but recognizing the sheer inventiveness, freedom and beauty of the work. Thank you....x
Incredible string writing....like another emotional world never captured by strings before, that perfectly captures the passionate orginal poem--- and goes far beyond as music often does....
Thanks very much for posting. We don't hear this often enough in performance. It is beautiful and Mahlerian. Schoenberg was working under the influence of the titan of late romanticism. Mahler was both friend and mentor of Schoenberg. It was a contentious and devoted relationship.
What I love about this piece is that it is bursting at the seams. The emotions are too big for six people, but they would also be too big for 600. Also the limits of everything that has gone before, la fin de toute la tradition tonale de Monteverdi a Richard Strauss. Chaque fois que je l'entends je me sen completement epuise pares.
If it was the end of the tonal tradition between Monteverdi and Richard Strauss, then it came rather early, even for Schoenberg (who didn't produce his first atonal works until nearly a decade later) and for Strauss (who was composing in his lush, late romantic idiom for another half century afterwards). Another great composer who maintained the viability of tonality well into the 20th century - Franz Schmidt (1874-1939) - was the second cellist at the work's Viennese premiere. You can hear overt Straussianisms in his Fourth Symphony (which appeared in 1933), but also echoes of Schoenberg's tonal music, including this work (which Schmidt regarded very highly).
The way he skillfully uses limited rhythmic patterns and develops them into this whirl of raw emotion is nothing short of genius, a language in itself. It's a bitch that music like this is not widely understood and appreciated anymore and that very few people really take the time to get to speak this language. Thanks so much for putting this online with the score so it can be analysed and appreciated properly.
I would honestly prefer if Schoenberg stopped at this style and developed it to its maximum potential instead of... whatever weird things he was doing after writing this piece and a few more.
I think I might be in love with this piece. I know it's program music but it really, really stands on its own and calls for personal interpretations. For me, this piece perfectly encapsulates so many feelings: profound sadness, depression, anxiety and existential dread, that finally transform into bittersweet joy, relief, acceptance and passionate love. Those themes work well in regards to the poem, but they also represent life as a whole. One could say that the piece represents going from existential anxiety, looking for answers, asking "Why?" and shaking your fist at God, to finally accepting the finality of death and embracing life, content to live it to its fullest. That's my interpretation and I think it's a rather beautiful one. Powerful, powerful music.
Nobody has mentioned that this sextet is based on the poem by Richard Dehmel, or how the music follows so closely the poem, making it the musical rendition of the text, like a tone poem. The text is very romantic and so is the sextet. Shoenberg was still under the influence of late romanticism.
I love the tone painting at 16:30 so much, of the line: "Look, how brightly the universe shines! Splendor falls upon everything around; you are voyaging with me on a cold sea..." Having a rising scale is so simple and still so effective to emulate their looking upwards. The depiction of the stars is singularly beautiful, too.
What a beautiful, moving piece this is. What a touching story and poem that it is based on. This work is so full of love and compassion, it just overflows with emotion.thank you for uploading it and also with the score. 🙏
The use of that small part is one of the peak points of Björk's discography for me but it's disappointing it's not stated on the album credits that it's a borrowed melody. But using it such a creative way is also genius.
schonberg fut un génie visionnaire ,, la musique dodécaphonique nous livra d'ineffables chefs d'oeuvre , quelle beauté , quel mystère ,, schonberg rompit avec le classicisme pour notre plus grand plaisir ,, les débuts durent étre difficiles pour le maître comme les auditeurs de stravinsky étant venus écouter le sacre du printemps , ils furent enragés par une musique visionnaire ,, la salle fût dévastée , des bagarres éclatèrent , une grande partie des auditeurs quitta la salle ,, et désormais le sacre fait partie du répertoire classique ,, soulignons le courage de ces compositeurs qui rompirent avec les traditions pour ériger leur art vers les cimes inaccessibles du génie ,, thanks for sharing
This song is, to me, the feeling of relief after being rejected for something that you thought you wanted and the stagnation of failures that were thought to be pacified.
Reading the comments, I can see why Schoenberg just went for the whole twelve tone thing. They're either, "it's too weird, I don't get it" or "meh, how conventional."
@@starless5668 It's unconventional for its time and tradition, and still to this day the harmonics and sonorities carry a "weird" effect to them, but at the same time, music has greatly expanded its horizons since then, so we've become more used to a lot of what's used here, making it come off as conventional due to how long its been and how many pieces have followed a similar path since- so I'd say that's why a person would feel both ways at once. As for me, I just really like it lol
Schoenberg himself was almost ashamed (at least of Gurre-lieder) for more or less this reason. He was, understandably, bitter that audiences and critics only appreciated his more "conventional" works. Whilst, in his mind, he's simply writing for music's sake, the criticism of his more experimental pieces was too much and performing Gurre-lieder must have almost felt like a twisted kind of pandering.
Thank you so much for posting the synchronized score! This may not be some people's idea of a fun listen, but the greatness can't be denied. This is a great performance!
As an avid hater of Schoenberg....I’m speechless after discovering his earlier works such as this. I have also taken the time to learn 12 tone series and do subsequently have more respect for him and colleagues!
I would never in a million years expect this much diatonicism from Schoenberg Would be a great soundtrack to the Isle of Dr. Mareau or Dracula, both published around this time
@@musicfriendly12 I've no idea! I can sense freedom of expression here; perhaps rules being broken,, but soon after this, the 12 tone rules take hold, but I don't cherish more freedom than in Bach's 24 preludes and fugues - atonal enough for me, without any rules.
Rhis postromantic score by the youngSchoenberg is interesting for two reasons. First, technically, it is derived both from Wagner and from Brahms. Second, in stylistic terms, it is a tone poem for chamber music, which is quite an exception.
The original liner notes from the LP release indicated that this was recorded in the presence and with the approval of Schoenberg himself. He lived at the time in Los Angeles and taught at both the University of Southern California and the University of California, Los Angeles.
Ah, it's just a double barline not a final barline for the end of a piece. Double barlines are often used for new sections of a piece, but these sections are not movements. In this print, some of these double barlines look quite thick so I understand why you think there's more than one movement!
It's a bit like Liszt's B Minor Sonata, if you've ever heard it before, (if not, you have to!) in that it has movement-like sections, but they're not actual movements, since the entire work is a single unit with the same motives and themes throughout, albeit developed over time
Because they're talking about his twelve-tone works. They probably didn't understand his twelve-tone method, why he transitioned to it, and, least of all, the fact that he composed tonal works like this one and Gurrelieder.
Thanks. It seems so funny now to think they would ban it because of that chord- especially as it's nowhere near as discordant as some of the other chords in the piece. All of my compositions would probably have been banned haha.
3:39 This specific chord caused a minor scandal at the time of the piece's publication, and some performers refused to program the piece due to this dominant with a ninth in the bass and the way Schoenberg resolves it in this passage.
My first crush I could never have a relationship with, because she yet was and still is into one, is going to become mother in November. We still are in good terms despite the impossibility of any bond, and what's happening with her vaguely reminds me the original Poem by Richard Dehmel (en.wikipedia.org/wiki/Verkl%C3%A4rte_Nacht#The_poem), althought the situation is different, I'd say the reverse one. But still, when I received the glad news, this Piece has been the first thing came to my mind.
Because a B double flat appears an octave higher in the same measure, the editor thought it would be nice to cancel that accidental before putting the new one. Ultimately, it’s to avoid confusion.
Even more gorgeous for the original string sextet version than for string orchestra. I hate to say it (for various reasons) but this is worth more (to me at least) than all the other Schoenberg compositions put together.
20c 초반 음악 쇤베르크 - [정화된 밤] (현악 6중주) - 초기버전 (바2 비2 첼2) ★제 1기 [후기 낭만주의] (조성적 창작 시기) 쇤베르크는 - 19c마지막 해인 1899년에 작곡된 현악 6중주곡 [정화된 밤]은 후기 낭만주의 사조를 보여주었으나, 이후 낭만주의 음악 어법의 한계를 느끼고 점차 [무조성 = 표현주의]으로 향했다 11:24 악보 기억하기.
I percieve of Sch. as such an unhappy person.. I sung a piece of his in a choral.. Unhappy... but this early piece, wonder if he had already turned Brahms down, is a master piece of a type of music that he did no continue .. wonderfully played!
@@Classic336 which is what, Ab maj9, fifth inversion? Dunno if it fits that function harmonically, tbf. But even so, the idea of a 'non-existent' chord is a testament to how... unimaginative some musicians were back then.
une composition merveilleuse toute en retenue sonore , en éclatements maîtrisés de création qui conduiront toute la musique atonale vers un univers musical nouveau , schoenberg brise et recompose une musique qui arrivait a un état d extinction transcendantale , après schoenberg la forme classique disparaîtra a tout jamais pour céder la place à une fantaisie expressionniste qui nous conduira vers des composteurs comme ligety , elliot carter , wollfgang rihm , part , iannis xennakis , boulez , luciano berio , hartmann , zimmermann et bien d autres , l abstraction musicale trouve la une naissance inespérée , suivra le woycceck d alban berg dont la forme vocale éclatera en une nuée moderniste et variée ,,
I was impressed with the solemnness and ingenuity that I can not express every much in words. 🍎 From effulgent Tokyo in profound Japan Which national are you watching this video ？
Jack Albrecht You can google it, but I think he preferred to write it as “Schoenberg”. My guess is that he probably migrated somewhere non-german-speaking and so he changed the spelling of his name. But I could be wrong.
Beautiful performance. You get to hear just how Viennese this piece really is. If the last few minutes don't take your breath away then do you really deserve to be breathing?
@@sergiohman So beautiful! Had to remind myself to breath while watching/hearing it performed. Although I had listened to a recording in advance, there's just nothing like being there in person.
I really like the melody, it's only, i Read in "Einstein for the perplexed" about Schoenberg and i don't understand whay the people don't like his Music 🥺
I listened to this to make sure I liked the Kammer Symphony much more. And I found stuff to dig about this🤷♂️I hadn't noticed before. Not a big fan of Late Romanticism but genius is genius.
I'm not sure why this is considered so harmonically inventive. Was it because it used his twelve-tone technique (subtly, mind you)? It seems to be harmonically on par with the works of Debussy at the time (e.g., Nocturnes, which was premiered before this piece), and somewhat with the works of Strauss and Mahler.
Have you read the poem yet? The darker and "stranger" part (around 9:00) fits the story and function as tone painting. It's the woman's fear of telling the truth and losing the only man she's truly loved, guilt over not telling him, regret that she didn't wait and have a child with him instead, terror at the idea of her love despising her, despair at the thought of losing him, and the anguish of all these combined together. This, and the man's love of her leading him to accept and love her child as his own, and the ending of the piece being the beginning of a new family make this piece deeply impactful and tear-jerking for me. :)
A 1:27
B 2:28
Etwas bewegter 3:00
C 3:14
D 4:36
E 5:12
F 7:50
G 9:12
H 10:01
J 10:30
K 11:24
L 13:22
Sehr breit und langsam 14:54
M 15:47
N 17:04
O 19:16
P 20:16
Q 21:01
R 21:14
S 21:42
T 23:13
U 24:29
V 25:12
Sehr gross 26:01
W 26:57
X 27:37
Like Picasso, Schoenberg was highly skilled and accomplished in the conventional art. However, both men were drawn by the mystery of the unknown and untapped to transcend convention and perhaps touch something greater. Picasso with the 4th dimension and non-Euclidean geometry, Schoenberg with the liberation of tonality in its whole unbounded sweep, to "taste the air of an alien planet".
It's funny that you should say that, considering how much more conservative Schoenberg was.
Serialism may have been a new thing, but it was more of a progression from Wagner, Debussy, Scriabin, Roslavets, etc. than it was intended to be a total departure, as seen in Schoenberg's own literature on music theory. His later music still used the same musical devices as before, e.g. motifs, leitmotifs, counterpoint, and other such conventional musical devices, and he always was fixated on Romance period thematic material.
''liberation of tonality'' I love that. Schoenberg was so pissed when people called his music ''atonal'' because he saw it as twelve-tone music rather than atonal music. If anything, it was more tonal than the work of his predecessors. If he was alive to read your comment, you'd certainly make him happy!
In other words, it's chaotic garbage. **clap clap**
Arnold Schoenberg produced music no longer dominated by a harmonic universe of triadically centered orbits.
this still a little bit tonal, ambiguous tonality
the fact that the recording is old makes the music even more beautiful
First loved this when I was a teenager. Not knowing anything about music theory, but recognizing the sheer inventiveness, freedom and beauty of the work. Thank you....x
Incredible string writing....like another emotional world never captured by strings before, that perfectly captures the passionate orginal poem--- and goes far beyond as music often does....
Thanks very much for posting. We don't hear this often enough in performance. It is beautiful and Mahlerian. Schoenberg was working under the influence of the titan of late romanticism. Mahler was both friend and mentor of Schoenberg. It was a contentious and devoted relationship.
3:02-3:51 - etwas bewegter.
5:13 - ohne Dampfer
5:35 - Lebhafter
5:54 - etwas belebter
6:08 - Wieder belebter
6:31 - lebhafter
7:35 - bar after rit. - - -
8:20 - Drangend
8:52 - wild, leidcnschafthch
10:32 - Schneller werdend
10:48 - Sehr langsam (!!!)
18:49 - rit.
19:25-19:33 - (this is so beautiful)
20:17-21:08
21:17-22:29 - [R] Etwas bewegt.
24:38 - [U] Sehr ruhig
25:50 - molto rit.
27:08 - [W] (the chord progression here)
Terrifying and stunningly beautiful at the same time; an absolute masterpiece!
Well said!
Finally, finally, after a lifetime of trying...I am convinced this is truly a masterpiece and a wonder to behold!
What I love about this piece is that it is bursting at the seams. The emotions are too big for six people, but they would also be too big for 600. Also the limits of everything that has gone before, la fin de toute la tradition tonale de Monteverdi a Richard Strauss. Chaque fois que je l'entends je me sen completement epuise pares.
I love everything about this comment, nottament la transition vers le francais :)
111 1
If it was the end of the tonal tradition between Monteverdi and Richard Strauss, then it came rather early, even for Schoenberg (who didn't produce his first atonal works until nearly a decade later) and for Strauss (who was composing in his lush, late romantic idiom for another half century afterwards).
Another great composer who maintained the viability of tonality well into the 20th century - Franz Schmidt (1874-1939) - was the second cellist at the work's Viennese premiere. You can hear overt Straussianisms in his Fourth Symphony (which appeared in 1933), but also echoes of Schoenberg's tonal music, including this work (which Schmidt regarded very highly).
Bro I thought I was having a stroke mais heureusement c'était seulement ta alternance codique
The way he skillfully uses limited rhythmic patterns and develops them into this whirl of raw emotion is nothing short of genius, a language in itself. It's a bitch that music like this is not widely understood and appreciated anymore and that very few people really take the time to get to speak this language. Thanks so much for putting this online with the score so it can be analysed and appreciated properly.
Exactly. In the conservatory I have talked about Schoemberg's pretonal works and everyone just asumes it sounds really bad.
I would honestly prefer if Schoenberg stopped at this style and developed it to its maximum potential instead of... whatever weird things he was doing after writing this piece and a few more.
Eloquently said
I think I might be in love with this piece. I know it's program music but it really, really stands on its own and calls for personal interpretations. For me, this piece perfectly encapsulates so many feelings: profound sadness, depression, anxiety and existential dread, that finally transform into bittersweet joy, relief, acceptance and passionate love.
Those themes work well in regards to the poem, but they also represent life as a whole. One could say that the piece represents going from existential anxiety, looking for answers, asking "Why?" and shaking your fist at God, to finally accepting the finality of death and embracing life, content to live it to its fullest. That's my interpretation and I think it's a rather beautiful one. Powerful, powerful music.
11:26초부터는 악보만 많이 봤는데 직접 듣게 되어서 좋으네요~ 쇤베르크는 연주를 들을 기회가 정말 많이 없는데.. 참 좋은 세상입니다. 올려주신 분께 정말 감사합니다~^^💕
Okay, I take back what I said about Schoenberg. This piece is pretty cool!
William Ford Darn tootin' it's pretty cool, especially Boulez' version
+Bertrand Marotte Darn tootin' hah
The bit at 1:17 is used in Bjorks Song, Hidden Place - she uses voices instead of violins though
@@peterpowis4145 who cares about her?!
@@helenamarie4337 well i do. And im sure others do too
Nobody has mentioned that this sextet is based on the poem by Richard Dehmel, or how the music follows so closely the poem, making it the musical rendition of the text, like a tone poem. The text is very romantic and so is the sextet. Shoenberg was still under the influence of late romanticism.
look at the description
11 3
This is prime Schoenberg for that reason. Atonal music is so much better as sprinkles in otherwise tonal music. Otherwise it is just farting
I love the tone painting at 16:30 so much, of the line: "Look, how brightly the universe shines! Splendor falls upon everything around; you are voyaging with me on a cold sea..."
Having a rising scale is so simple and still so effective to emulate their looking upwards. The depiction of the stars is singularly beautiful, too.
This is awesome! Thanks for putting the sheet music to it !
What a beautiful, moving piece this is. What a touching story and poem that it is based on. This work is so full of love and compassion, it just overflows with emotion.thank you for uploading it and also with the score. 🙏
Here because a small part of the arrangement is used in Bjork's hidden place song, performed by a choir. Very beautiful, as is this.
The use of that small part is one of the peak points of Björk's discography for me but it's disappointing it's not stated on the album credits that it's a borrowed melody. But using it such a creative way is also genius.
Can i get the time stamp?
schonberg fut un génie visionnaire ,, la musique dodécaphonique nous livra d'ineffables chefs d'oeuvre , quelle beauté , quel mystère ,, schonberg rompit avec le classicisme pour notre plus grand plaisir ,, les débuts durent étre difficiles pour le maître comme les auditeurs de stravinsky étant venus écouter le sacre du printemps , ils furent enragés par une musique visionnaire ,, la salle fût dévastée , des bagarres éclatèrent , une grande partie des auditeurs quitta la salle ,, et désormais le sacre fait partie du répertoire classique ,, soulignons le courage de ces compositeurs qui rompirent avec les traditions pour ériger leur art vers les cimes inaccessibles du génie ,, thanks for sharing
This song is, to me, the feeling of relief after being rejected for something that you thought you wanted and the stagnation of failures that were thought to be pacified.
Reading the comments, I can see why Schoenberg just went for the whole twelve tone thing. They're either, "it's too weird, I don't get it" or "meh, how conventional."
people are just dissatisfied, one must make music for himself or for herself. If the public follows good for them
@@starless5668 It's unconventional for its time and tradition, and still to this day the harmonics and sonorities carry a "weird" effect to them, but at the same time, music has greatly expanded its horizons since then, so we've become more used to a lot of what's used here, making it come off as conventional due to how long its been and how many pieces have followed a similar path since- so I'd say that's why a person would feel both ways at once. As for me, I just really like it lol
Schoenberg himself was almost ashamed (at least of Gurre-lieder) for more or less this reason. He was, understandably, bitter that audiences and critics only appreciated his more "conventional" works. Whilst, in his mind, he's simply writing for music's sake, the criticism of his more experimental pieces was too much and performing Gurre-lieder must have almost felt like a twisted kind of pandering.
To parlay this poem into film would be made to perfection with this score and some feeling direction
Most fun I’ve had on my phone in a while. A killer classic, and with the sheet music for the sextet. Thanks.
Thank you so much for posting the synchronized score!
This may not be some people's idea of a fun listen, but the greatness can't be denied.
This is a great performance!
Sehr schön, mit einer dazu mitlaufenden Partitur. Ganz vielen Dank an den Hochlader :)
14:54 Probably the most powerful D major chord I'll ever hear in this life
this is my song of the summer!!!
Absolutely gorgeous.
32 6
1:24 Bjork - Hidden Place
thanks
Are you at BVoDM ☺️
@@mytom265 ya
THANK YOU
16:46 - sounds like a clarinet. Wonderful
Although you can not like it in first listen, just know that this is masterpiece from a genius artist.
it had been so long since i had read music, I thought i forgot how.. Thank you for the refresher course..brilliant piece
As an avid hater of Schoenberg....I’m speechless after discovering his earlier works such as this. I have also taken the time to learn 12 tone series and do subsequently have more respect for him and colleagues!
His mammoth early work for chorus and orchestra, Gurrelieder, is even more overtly late-romantic. The concluding Hymn to the Sun is glorious.
@@genedryer-bivins8314 I really can't think of a work more under-rated than Gurrelieder. It's absolutely insane.
@@Eorzat マーラーで言う嘆きの歌等を初めとする初期の楽曲は余り相手にされないのが悲しいです。
Try Gurrelieder next
This music, its link to the poem, and the poem itself -- it's like a Venn diagram of brilliance, beauty, and profoundness
I would never in a million years expect this much diatonicism from Schoenberg
Would be a great soundtrack to the Isle of Dr. Mareau or Dracula, both published around this time
I was gonna make a joke involving the inverted 9th chord but then I saw it was covered in the description.
A classic recording. Thank you so much!
excellent performance and very useful video.
Schönberg is amazing.
Shoenberg, thank you for breaking all the rules - like the section from10:31 - but this is the greatest tribute to Brahms that I am aware of.
21:49 for my own reference. I'm studying,...
What is the rule he broke? I don't understand what you mean
@@musicfriendly12 I've no idea! I can sense freedom of expression here; perhaps rules being broken,, but soon after this, the 12 tone rules take hold, but I don't cherish more freedom than in Bach's 24 preludes and fugues - atonal enough for me, without any rules.
Rhis postromantic score by the youngSchoenberg is interesting for two reasons. First, technically, it is derived both from Wagner and from Brahms. Second, in stylistic terms, it is a tone poem for chamber music, which is quite an exception.
21:14 cello excerpt
The original liner notes from the LP release indicated that this was recorded in the presence and with the approval of Schoenberg himself. He lived at the time in Los Angeles and taught at both the University of Southern California and the University of California, Los Angeles.
How could that be if the recording was made in 1955, & Schoenberg died in 1951?
@@schlesmail1the description is an error. this was actually recorded in 1950
Is it really one movement? it looks like a second movement starts at 14:54 please explain. Thanks
Ah, it's just a double barline not a final barline for the end of a piece. Double barlines are often used for new sections of a piece, but these sections are not movements. In this print, some of these double barlines look quite thick so I understand why you think there's more than one movement!
It's a bit like Liszt's B Minor Sonata, if you've ever heard it before, (if not, you have to!) in that it has movement-like sections, but they're not actual movements, since the entire work is a single unit with the same motives and themes throughout, albeit developed over time
That's some beautiful viola playing by Paul Robyn.
danke für die Mühe Noten uns zu senden!
A lot of the notes seemed to be played on the G string.
Makes it sound spooky.
Why did people tell me Schoenberg wasn’t good? What in the hell were they talking about, this is highly experimental, technical and arousing
Because they're talking about his twelve-tone works. They probably didn't understand his twelve-tone method, why he transitioned to it, and, least of all, the fact that he composed tonal works like this one and Gurrelieder.
4:34 love this part
6:49 no words
Reminds me so much of Beethoven's Grosse Fuge!
How?
Why do I appreciate this more after college?
Hahaha kinda same to me
life experiences? deeper understanding and sensitivity? stuff like that
Geniuses survive their teachers.
Siempre será una de mis obras favoritas de toda la vida. La amo amo 😍😍
"his first true masterpiece, which is perhaps his most enduring composition."
YES
Thanks. It seems so funny now to think they would ban it because of that chord- especially as it's nowhere near as discordant as some of the other chords in the piece. All of my compositions would probably have been banned haha.
Very nice performance! Thank you for posting it.
3:39 This specific chord caused a minor scandal at the time of the piece's publication, and some performers refused to program the piece due to this dominant with a ninth in the bass and the way Schoenberg resolves it in this passage.
So Beautiful! Schonberg.
the infamous "non-existent" inverted or shall we say "transfigured" ninth chord at 3:38... :)
This chord in jazz is better used
such a charming piece.
My first crush I could never have a relationship with, because she yet was and still is into one, is going to become mother in November. We still are in good terms despite the impossibility of any bond, and what's happening with her vaguely reminds me the original Poem by Richard Dehmel (en.wikipedia.org/wiki/Verkl%C3%A4rte_Nacht#The_poem), althought the situation is different, I'd say the reverse one. But still, when I received the glad news, this Piece has been the first thing came to my mind.
Amazing recording! Thanks for uploading.
I caught you Björk
I can't find what part she sampled
+Prosh Tiki 1:20 it's sampled as the chorus string melody in Hidden Place
+ANGUSRAZE 1:24 tbh
She said she started her musical passion after she left a classical music school at 15 and this is almost shocking lol
@@angusraze9638 I appreciate your honesty, honestly, but why specify that you're not lying here?
18:25 The top line...What does a natural flat mean?
Because a B double flat appears an octave higher in the same measure, the editor thought it would be nice to cancel that accidental before putting the new one. Ultimately, it’s to avoid confusion.
It has the most beautiful happy ending
It must be from heaven
I can hear Bjork's Hidden Place
Verklarte nanananana nanana thank you thank you for the love
Even more gorgeous for the original string sextet version than for string orchestra. I hate to say it (for various reasons) but this is worth more (to me at least) than all the other Schoenberg compositions put together.
Absolutely incredible playing
20c 초반 음악
쇤베르크 - [정화된 밤]
(현악 6중주) - 초기버전 (바2 비2 첼2)
★제 1기 [후기 낭만주의] (조성적 창작 시기)
쇤베르크는 - 19c마지막 해인 1899년에 작곡된 현악 6중주곡 [정화된 밤]은 후기 낭만주의 사조를 보여주었으나, 이후 낭만주의 음악 어법의 한계를 느끼고
점차 [무조성 = 표현주의]으로 향했다
11:24 악보 기억하기.
I percieve of Sch. as such an unhappy person.. I sung a piece of his in a choral.. Unhappy... but this early piece, wonder if he had already turned Brahms down, is a master piece of a type of music that he did no continue .. wonderfully played!
Oh oh this really has a viola! Two violas! Yay!
This peice and 2 others will be played at the proms this year to celebrate his 150th birthday
Linda música 🎄🎄🎄🎅🎅🎁🎁🎁🌆🌃🚢🌆
Wonderful work.
Lindo arranjo
Any chance you could point out the inverted 9th chord for which it was banned? i'd be interested to see it :)
3:39, from cello to violin: Bb, Ab, Gb, Eb, C, Eb.
@@Classic336 which is what, Ab maj9, fifth inversion?
Dunno if it fits that function harmonically, tbf. But even so, the idea of a 'non-existent' chord is a testament to how... unimaginative some musicians were back then.
@@seanriedy ...of course. I always forget inversions count from zero lol
une composition merveilleuse toute en retenue sonore , en éclatements maîtrisés de création qui conduiront toute la musique atonale vers un univers musical nouveau , schoenberg brise et recompose une musique qui arrivait a un état d extinction transcendantale , après schoenberg la forme classique disparaîtra a tout jamais pour céder la place à une fantaisie expressionniste qui nous conduira vers des composteurs comme ligety , elliot carter , wollfgang rihm , part , iannis xennakis , boulez , luciano berio , hartmann , zimmermann et bien d autres , l abstraction musicale trouve la une naissance inespérée , suivra le woycceck d alban berg dont la forme vocale éclatera en une nuée moderniste et variée ,,
Absolute masterwork
I was impressed with the solemnness and ingenuity that I can not express every much in words. 🍎
From effulgent Tokyo in profound Japan
Which national are you watching this video ？
Sweden.
Italy, Florence precisely :)
Recife, Brazil
Occasionally Poland or Tunisia but usually Malta.
France
the greats jobs like that never dies
If the title is written "Verklärte Nacht" instead of "Verklaerte Nacht," why is this from "Schoenberg" instead of "Schönberg?"
Jack Albrecht You can google it, but I think he preferred to write it as “Schoenberg”. My guess is that he probably migrated somewhere non-german-speaking and so he changed the spelling of his name. But I could be wrong.
Schoenberg immigrated to the US in the 30s, in the wake of the rise of the Nazi Party, he 'americanised' his name, so to speak, I suppose.
@@howardchu2667 you are correct. Upon arriving in the US, he made the willful change to remove the umlaut from his name.
@@wavydoor726 Indeed. In fact, when he emigrated, he returned to Judaism publicly and legally changed the spelling of his surname.
Beautiful performance. You get to hear just how Viennese this piece really is.
If the last few minutes don't take your breath away then do you really deserve to be breathing?
This was recorded in 1950, not 1955, in fact.
imagine listening to this while vampires throw rocks at your house.
Very excited to see Gustavo Dudamel conduct this epic piece with the Los Angeles Phil in 2 days. Trying to wrap my head around it in preparation.
How was it?
@@sergiohman So beautiful! Had to remind myself to breath while watching/hearing it performed. Although I had listened to a recording in advance, there's just nothing like being there in person.
I really like the melody, it's only, i Read in "Einstein for the perplexed" about Schoenberg and i don't understand whay the people don't like his Music 🥺
I listened to this to make sure I liked the Kammer Symphony much more. And I found stuff to dig about this🤷♂️I hadn't noticed before. Not a big fan of Late Romanticism but genius is genius.
Booker, catch!
THANKS! I was wondering why it sounded so familiar!
is it in bioshock??
Amazing
Beautiful
What part is the Bjork Hidden Place sample?
FRFR
有人是看了「音樂家的無聊人生」之後過來的嗎？
台灣+1
Nights north or in the tropics it is really classical music because it expresses beauty and emotion and needs no lirycs.
Wonderful music.
I'm not sure why this is considered so harmonically inventive. Was it because it used his twelve-tone technique (subtly, mind you)? It seems to be harmonically on par with the works of Debussy at the time (e.g., Nocturnes, which was premiered before this piece), and somewhat with the works of Strauss and Mahler.
Which Strauss?
Ryan L Richard - The good one
: )
This piece was written in the 1890s, Schoenberg came up with the 12 tone technique in the 1920s.
So much better than his later stuff.
Cosa bonita, cosa hermosa, cosa bien hecha. Me encanta
My favorite part was from 0:08-28:48
Mine too :)
I can't listen to this, and god knows how much I tried to like it. How do you guys do it?
Have you read the poem yet? The darker and "stranger" part (around 9:00) fits the story and function as tone painting.
It's the woman's fear of telling the truth and losing the only man she's truly loved, guilt over not telling him, regret that she didn't wait and have a child with him instead, terror at the idea of her love despising her, despair at the thought of losing him, and the anguish of all these combined together. This, and the man's love of her leading him to accept and love her child as his own, and the ending of the piece being the beginning of a new family make this piece deeply impactful and tear-jerking for me. :)