Arnold Schoenberg - String Trio Op.45 [w/ score]
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- Опубліковано 8 чер 2015
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performed by the Los Angeles String Trio
String Trio Op.45 by Arnold Schoenberg (1946)
www.discogs.com/artist/465062...
www.schoenberg.at/
uploaded with permission from Belmont Music Publishers
Belmont Music Publishers @ www.schoenbergmusic.com/
Purchase score @ www.schoenbergmusic.com/catalo...
NOTE that the displayed score comes from its first print, Bomart Music Publications, New York 1950. To purchase the current print [Bel-1045], visit Belmont's site above.
LP released on Desmar Records (DSM 1020G), 1978.
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This is so fucking good!!! They way they all weave together in this tight nit group wow! Masterfully composed and performed, one of the greatest string trios ever written for sure!!
Who knew anything this good could come out of LA?
This is the best performance I have heard.
I would go out on a limb and say this is Schoenberg's best chamber work.
and the I
It is probably the best string trio ever, but Schoenberg has Pierrot Lunaire, Chamber Symphony 1, piano pieces opus 11 e 19... Schoenberg is the most important music figure from the 20th century.
I also think so.
@@marcomoreiradasilva7294 I think he is the most important composer in the history of Western classical music.
@@machida5114I agree.
I'm tempted to say that this may be the best overall performance of this piece I've ever heard and I've heard them all.
1:05 this is so dope
One of my favorite works from Schoenberg. The contrasts of this work, its colors, overwhelm the listener and make them feel things that they have never felt.
Hilarious....!
One of the best pieces of music ever, period.
I also think so.
@@machida5114 Oh you two... being duped terribly.
@@JohnBorstlap "duped" is a strange word here. Like, feel free to think they have bad taste, but you speak as if people with bad taste are tricked into it.
@@klop4228 But yes, they are. They hear the gestures and don't get the notes.
Unbelievably good. Timeless.
Indisputably one of the greatest musical masterpieces of all time, in any form, in any style, in any genre.
lendallpitts no...
Well, one of the most historically important ones for sure. And is there anything but the historical impact of a work that can try to "objectively" define its value?
I also think so.
Thrilling performance. Who knew there was syncopation?
Thank you for posting this superb performance with the score. Staggeringly beautiful and a joy to follow.
Incredible work. Stimulating and immersive on a first listen and always more to get out of it on further listens. It took me way too long to hear this work.
superb composition and suberp performance! So inspiring!
Wow. Master piece. With so much sense.
This is great! Thanks for this upload.
One of the last works in the second cosmopolitan style. The first was invented by Debussy. The second was the joint venture of Bartok and the Second Viennese School. Although Bartok and Webern-Berge-Schoenberg hissed at each other, they followed each other's work closely. You can hear them responding to each other. This mutual interplay resulted in the golden age of the second cosmopolitan school, which occurred during the 1930s. The period is bracketed by, oddly enough, two cantatas: at the beginning, Bartok's Cantata Profana, and at the end, by Webern's second cantata.
There does not exists soemthing like 'The Second Viennese School', it is a ridiculous term. It was used by the followers of Schoenberg to give the experiments of Schoenberg, Berg and Webern a veneer of academic respectability because audiences in the central performance culture did not accept it. The incredible arrogance of such term is exposed in the reference to Haydn, Mozart and Beethoven which are supposed to form 'The First Viennese School', as if that also was an academic enterprise. It never was, as Schoenberg and his followers also never were serious academics. The whole idea is a ridiculous scam by ideologues.
15:30 - 15:40 One of the most beautiful chords I've ever heard!
This is 12-tone music.
The cello is playing their part in the bass clef instead of the tenor clef (from the previous measure). Maybe in their part it's written in bass clef.
No, I like to preserve my eardrums, thx
2:18 - 2:28 blows that away
@@c.contrafactum584 you can tell there's a missing bass clef somewhere in that passage as the next system has one.
Heavenly sound - Moderato (♪=104) - 9:02 ~ 9:32
If people think of Schoenberg's best work,
I recommend this work without hesitation!
Schoenberg wrote this piece and Webern did not...
09:03 ❤
@@incipitsify di bb
What does Webern have to do with this?
Schoenberg String Trio and Ferneyhough String Trio >>>>
fascinating piece!!!
Beautiful
I just love this
Amazing
This could have been written next Wednesday.
lmao this is too good
lmao this is too good
wonderful performance
Indeed it is. For whatever reason never quite clicked with the piece before but i now have a completely different sense of it.
so good!
crazy and great!
I love it...finally. I'm not ready to declare it anything just yet. if I heard it blind I would not have guessed schoenberg. To clarify, there is a touch of the ultra modern here which would have pushed me toward a post WWII composer. Though I have to admit I can think of no one with the requisite genius apart from those few whose works I know so well that it wasn't one of them. All the traditional models of composition have been ground to dust, something I wouldn't declare with his four string quartets.
It is post WWII
What the comment means it is not some tacky shallow dreck by Boulez.
@@johnryskamp2943 no point in disrespecting boulez. but hey sch is well sch.
Thanks for sharing the score. It's an unbelievable work. It's far more advanced than all the crap from Stockhousen and Boulez and Nono and all those Darmstadt prima donas.
Things get funkier'n'a mug round 0:35
I think it was written with Beethoven's late string quartets in mind.
He called this "Spätwerk".
Actually, he's responding to Bartoks quartets.
12音音楽の傑作です。
It is a masterpiece of 12-tone music.
Nice
its ugly and beautiful at the same time
One of those rare pieces that could very well rival a late Beethoven quartet.
I also think so.
on the artistry level alone, it might very well be
Its tightly knitted, contrapuntul and ideas are beautifully woven together
But I suppose no one should expect this music to ever reach Beethoven's popularity to the general audience. It simply won't. If it could, it should have already happened
@@KinkyLettuce though there’s quite a few pieces by LvB which a general audience may well find very challenging : Grosse Fugue, Diabelli Variations etc.
ua-cam.com/video/BO1KWjF3mEg/v-deo.html take a look
@@KinkyLettucein another hundred years some of the compositions now considered masterpieces of modern music will have reached such popular consensus. As to whether or not there have been geniuses of the rank of Beethoven, Mozart and a couple of others I think we already know the answer to that is unequivocally that there have been. Schoenberg is one of them.
Wow amio che bravo
This is the ultimate goal of Western classical music.
西洋クラシック音楽の到達点です。
This piece is mentioned in my new harmony book. Schoenberg divides the 12 tone row into two hexatonic modes. Therefore harmonies can be in heard in progression. By Anton von Webern he amazingly completely avoided any true harmonic progressions.
Link to your book?
I'm confused, could you explain Schoenberg's method a bit more please?
After moving to the United States, Schoenberg did not care the harmony was audible in progression. Instead, he focused on expressing musical ideas. It's clearer in "fantasy op47”.
Probably, complete atonality only exiist in style. We cannnot avoid to hear the tonality in progression.
i always preferred the string trio over the quartett with the doubled instruments for its clarity
I always preferred the cuatro, but this one shifts. Like the way that Einstein was able to straight-lift this one to give him a couple of his theories.
what
@@yunoewig3095 Hi there. Is that a question?
@@OnceTheyNamedMeiWasnt I don’t understand the thing about Einstein using Schoenberg in his theories. I didn’t even know Einstein listened to Schoenberg in the first place.
It is good even though I dont really get it.
Isn't this really a divertimento? So many references to the Lyric Suite.
It should be called From the Vienna Woods.
10:06
Parfois dans les réunions poétiques , on voit un étranger venir avec un texte qu il a écrit dans sa langue natale , et tout le monde s extasie après qu il l a lu ;
je me demande s il n y a pas de cette dynamique sociale autour des oeuvres didecaphoniques.
19:28 sounds like a distant car horn.
A car horn that's trying to bargain with a damaged shop-keeper for food for its two horn children
That's drunk Alma riding around in Berg's Ford. Quelle slut!
This is exactly modanism music.
I much prefer his string quartets to this, to be honest.
What number of string quartet do you like?
All those enthusiastic reactions here are by people being taken-in by the gestures of the piece and not by the music. Everything of this piece is masterly done, except the notes. The gestures imitatie classical music - Mozart, and especially Beethoven - so, it tickles the listeners' memories, and the discolated notes and aggressive dissonances give the music its 'modern touch', so the listener can happily feeling up-to-date. It is 12-tone music, the system of the absurd idea that you can write music on the basis of a numerical order which is only orderly in a numerical sense, and as if that would offer any fertile possibilities. Schönberg suffered from this particular Western idea, that truth can only be found in rational order. But the order in art, and especially in music, is of a very different nature.
Bold statement, but you are wrong. Ask the enthusiasts and they will tell you that "everything is masterfully done," INCLUDING the notes. Regardless, thanks for listening and engaging with the music. 😃
@@incipitsify I'm rarely wrong and never wrong when it is about Schoenberg... There exists something like tonality, which is not the major/minor system, but the relational forces as created by something called nature. There is a difference in relatedness between, say, an octave, a fourth, a second, etc. It is a hierarchical system embedded in the nature of sound. These relationships are not cultural constructs but a fact of physical nature, in the form of wave frequencies that relate to each other according to mathematical properties. Our ears are evolved in such a way, together with our brains, that we pick-up such relationships automatically. People who are musically-developed, either as performers or listeners, pick-up such relationships quickly. If not, it simply reveals a lack of musicality. But for Schoenberg, 'tonality' was cultural conditioning and historic evolution. He was very wrong. People who think the trio is good music, are simply duped by the gestures and the complexities of the texture. If you listen carefully, you hear short moments where intervals DO relate, to be cut-off soon after because of the system which intends to cover the equalized chromatic field, in which hierarchical relationships are supposed to not exist. Hence the twisted and neurotic nature of so much of S's music. He was a very neurotic guy himself... and wanted to inflict his mistakes upon the music audiences to be confirmed in his 'greatness'.
@@JohnBorstlapgenuinely thanks for the laugh. not many people have the guts to say they're rarely wrong then go on with subjective appraisals, invocations of a completely culturally contingent perception of sound, and psychoanalytic projections. i mean it, bravo lol
@@rot853 Tonality in music is not a 'completely culturally contingent perception of sound': the harmonic series, upon which tonal relationships are built, are a quality inherent in the physical reality of sound. This is not a cultural construct but a given by nature, and it is a mathematical order. The human ear has developed as part of evolution, so it is part of nature, and can pick-up automatically the order of frequencies produced by tones and their relationships. On this natural given, the whole of musical culture is based. It is always wholeheartedly recommended to first read a bit before criticizing people who are better equiped.
@@JohnBorstlap a continuous joy to see what you have to say. there's something wonderfully grotesque about your arrogance. i really admire it. like i don't disagree with the fact the human ear receives frequencies. it's not really a revolutionary concept. you're getting hot over the wrong term anyway. harmonic series is just the overtone spectrum. tonality, what you were initially addressing, is a completely separate affair. it's an idiom, not a 'physical reality of sound'. i don't know why you insist so vociferously on something blatantly false and then parade yourself around like an expert. it's really quite humorous. and it's not even high stakes. even if you -were- right (i don't know how tbh. it's not clear to me what the overtone spectrum has to do with 'good music'), so what if someone like me enjoys schoenberg? all it really hurts is your over-inflated esteem. perhaps before you read, consider working on some respect and humility. you could have all the knowledge in the world but it doesn't matter because no one wants to hear indulgent yapping lmao
Suffering in the past from deep anal itch, I actually thought out these notes long before hearing the piece. Am I the only one???
Jim Slade Oh please, FUCK OFF Fascist.
In Schoenberg's case it was a near-death experience (heart stopped for a while IIRC), but a painful source of inspiration in any case.
@PaulVinonaama: In 1946 Schoenberg had a serious heart-attack, and for about 10 minutes technically was actually dead. He was revived by injections of adrenaline directly into his heart. This piece is his reflection on that whole experience. Some ethereal passages seem to be from the "other world", and the more violent ones express his pain and even depict the stabbing injections ... he wrote this about the piece himself.
Music is subjective, of course, but to my ears this piece (and all 12-tone compositions) is painful and boring. Then someone else says "Indisputably one of the greatest musical masterpieces of all time, in any form, in any style, in any genre." Wish I could understand it.
I agree it's subjective: to compare music pieces, 'good vs average or bad' often make sense, but much less so for 'better than', and may never hold for 'the best'.
Well, when listening to tonal music, you listen for form, harmony, and melody whether it be subconsciously or consciously. Here, it's more about the color, rhythm, and the motivic development that can occur. Without the context of a clear form or melody, that can, however, seem both uninteresting and confusing. Quite simply, you'll just have to listen to more of this type of music. I really doubt anyone is born being able to tolerate this after all. It's just when you listen to a lot of "classical" music, your ears will become more and more used to dissonance.
"Quite simply, you'll just have to listen to more of this type of music." But it's so stressful. Painful, almost. Why put ourselves through it for so little reward.
"I really doubt anyone is born being able to tolerate this after all." Exactly right. But we do seem to be born liking classical music, lullabies, folk music ... none of which are 12-tone.
"It's just when you listen to a lot of 'classical' music, your ears will become more and more used to dissonance." This I don't understand. Would think classical music (you're thinking of Mozart, Beethoven, etc, right?) would make us LESS used to dissonance, not more.
I'm not a musician. The only class in music I've taken, and class is stretching it, was Music Appreciation. I find hiphop and bebop as unenjoyable as serial music, but know that professional musicians disagree with me.
Good music, for me anyway, needs very little prior education. My own Deserted Island Music list includes so much, from Americana to zydeco. Why "train" myself to tolerate 12-tone? It would be like teaching a fish to walk: just unnatural, and not worth the effort.
For your first point - you don't have to jump into this music right away. It's better to listen on a progression from Wagner to Mahler/Sibelius to Debussy/Ravel late works to Prokofiev/Stravinsky/Shostakovich/Bartok. From there, you listen to free atonal works and THEN serial music.
For your second - I was actually using the liberal version of "classical" to refer to Western art music in general, but also consider how Mozart and Beethoven would sound to Medieval or Renaissance composers. The amount of chromaticism in Classical works would likely throw off the Medieval ear. There was both a theoretical progression and a progression in the ears of the audiences that allowed Classical and Baroque composers to develop more dissonant music compared to their predecessors.
For your third - there's no need to force yourself to do anything. Some think of music as a sort of spiritual connection. Listening to different genres and appreciating the progression of music in all forms is a part of that connection. If you don't want to "train" your ears for this music, then that's that. But serialist music occupies a very large and relevant part in music history, so it seems odd to me to appreciate everything else about music and yet intentionally skip this type essentially because you don't want to give it a chance.
Eorzat, I appreciate your nonjudgmental reply. Which is why I'll give it (another) shot.
By the way, regarding "Wagner to Mahler/Sibelius to Debussy/Ravel," I like all but Mahler, and I'll concede the fault is mine, not his.
The very concept of 12-tone music seems built on a fractured foundation...but I'll bet it's an old argument you've heard before so won't go any further.
I've watched the "Bernstein on Schoenberg" lecture, and wasn't convinced there were any clothes on the emperor. But OK, I'll try again.
Dont you love the reference to the Lyric Suite at 9.30? A Schoenberg composition is a musical rebus. But then, isnt every composition?
SO Bartok 6th!!
Who's the girl?
9:21