Glenn Gould - Schoenberg, Pierrot Lunaire op. 21 (OFFICIAL)
HTML-код
- Опубликовано: 24 июл 2024
- As host and performer, Gould outlines the music of the 20th century and combines it with the ideas and art of the period.
In this part of the programme "Music In Our Time - Part 2: The Flight From Order" Glenn Gould explores „Pierrot lunaire op. 21 For Reciter and Chamber Ensemble" by the great composer Arnold Schoenberg (1874-1951).
reciter: Patricia Rideout
clarinet: James Campbell
violin: Adele Armin
flute: Suzanne Shulman
00:00 No. 1: Mondestrunken
01:53 No. 2: Colombine
04:03 No. 3: Der Dandy
05:32 No. 4: Eine blasse Wäscherin
07:04 No. 5: Valse de Copin
09:12 No. 6: Madonna
11:15 No. 7: Der kranke Mond 
Развлечения
3:10 Moonstruck
5:05 Columbine
7:13 The Dandy
8:44 Washerwoman
10:28 Chopin Waltz
12:22 Madonna
14:28 The Sick Moon
👍
The depth of expressivity embedded within Herr Schoenberg's musical universe is astonishing.
Bravo!! Pierrot Lunaire and Erwartung are two of my favorite works. This was a brilliant performance!
Schoenberg created an entirely new musical aesthetic, even though in fact he was trying to preserve the trajectory of tradition as it stood when he inherited it. Pierrot Lunaire has an infectious logic to it all its own, and if you just allow yourself to let the music carry you (as you would with a good movie), you'll be transported to another plane, captivated by its nuances and mesmerized by its unity.
Well Debussy’s music has the same charm. Only Debussy’s music takes me to a land with subtle colours and blended scenery, while this takes me to a cubist black and white world.
This piece of music is genius. It’s incredibly attractive and captivating - also pretty easier to understand. This is very recommended for anyone who doesn’t yet understand atonal music.
The singing voice-something eerie about it that she sounds torture.
you all prolly dont care but does someone know of a way to get back into an instagram account?
I somehow forgot my password. I love any tricks you can offer me.
@Noah Kyle instablaster ;)
@Kason Nikolas Thanks for your reply. I got to the site on google and im waiting for the hacking stuff atm.
Seems to take quite some time so I will reply here later with my results.
@Kason Nikolas it worked and I finally got access to my account again. I'm so happy:D
Thank you so much, you saved my account !
Splendid; this is perfection! 🌹🍀💖😊🌐
Absolutely marvelous performance, so genial artists, amazing video! :-)😊
Thanks a lot 💖for sharing! Great job 👍👌👏😍
Such an evocative performance! My only wish is that they had done Parts II and III as well...
Наталья Владимировна, мы вас любим!!!! ❤
Наталья Владимировна, мы вас тоже любим!
Pierrot Lunaire is a series of textures that make perfect melodic sense when you take them apart, but Schoenberg adjusted each part ever so slightly to make the whole work disjointed and crunchy.
Schoenberg was straight krunk!
Crazy music...))
I find it fascinating that many people can watch really terrible things on video, real horrors, real blood and gore, etc. and they won't even flinch.
Yet put this on and they are begging you to turn it off after 3 seconds. Something so deeply scary and terrifying about this music.
Many People can not listen to Music unbiased, and do not want to spend Time learning to understand the Music.
Wrong. The people you describe will flee because it sounds too intellectual, and not enough terrifying. Extreme death metal or some kind of dark hardcore - sound a lot more terror-ish, gore etc. The classical idea of note abundance and many types of textures/timbre/melodies is killing the terrifying feeling even for me. I like Schoenberg, but if the idea is true terror - the result sound more like bad decoration and over-use of "classical memes". Gyorgy Ligeti and Krzysztof Penderecki have a lot better breakthrough into the theme of terror. But to achieve it they abandon the tipycal use/ and some timbres of instruments. This piece of Schoenberg treats the theme of terror just too elegant and allegorical - agonizing - yes - but not terrifying.
Ligeti and Penderecki? Terrifying? What? When?
Also, you do realize they lived decades after Schoenberg? This piece was written in 1912, Ligeti’s Le Grand Macabre (which I wouldn’t by any means call “terrifying”, but that’s a debate for another day) was written in the 1970s. Saying Schoenberg isn’t terrifying because he didn’t do what Ligeti did is like saying a Charlie Chaplin film isn’t funny because he didn’t deliver his lines with the understatement of Michael Cera. If I can turn it around for a second? Death metal isn’t terrifying because it falls into totally predictable metric patterns and all uses the same sounds (let’s face it, speaking in a “growl” doesn’t sound scary anymore).
If we’re talking “overuse of classical memes,” how about literally every composer that came before Schoenberg? Was Berlioz incapable of writing something “scary” because he lived during the heyday of tonality? Does mozart’s Requiem lose any of its otherworldly power for using classical principles of phrase structure and texture?
The thing is, Pierrot Lunaire isn’t about cheap jump scares or inhuman sounds or existential dread. It’s an expressionist setting of symbolist poetry that tells the story of a poet that gets drunk on moonbeams and fantastizes he’s a tortured clown puppet who goes on all kinds of irreverent adventures, like smoking tobacco out of the skull of his rival, ripping his heart out in front of a congregation, stealing rubies that begin to glow, and literally getting his head cut off. Its filled with strange chromatic lines rubbing up against one another in blood-curdling dissonance. If you listen to them as “noise,” the way that you would (and should) listen to Penderecki, then of course noise is all it’s gonna sound like. But if you listen to it as though it’s Brahms, as though the instrumentalists are singing the instrumental lines through their instruments (the way German instrumental music has been from Bach all the way to Hindemith), then you’re gonna get a radically different picture of the piece. The string tremolos become shudders, the high piccolo notes and piano chords become shrieks, the muted viola, flute, and clarinet in A become shocked whispers, and the huge glissando in the 13th song turns from a blade falling to a blade being forcefully slashed down onto the deathly terrified pierrot’s neck.
It’s terrifying in the sense that a painting by Edvard Munch is terrifying. Of course Munch didn’t have the surrealist absurdity of Magritte, the inhuman scale of Goya, the colossal abstract forms of Kandinsky, or the grotesqueness of Schiele, and he of course would never have the immediate blood-curdling effect of today’s better horror films, but why should he? Putting slightly-distorted familiar forms in terrifying scenarios with a heavy-brush-stroke texture worked just fine to create his own personal brand of terror.
I cant/dont communicate with graphomaniacs... so please. And you obviously are forgetting what this tread is about - AND - WHAT I said: *This piece sound too intellectual to bring terror for the ordinary people who are digging into gore/dark music.* - You dont get my standpoint AT ALL. I was not compering their work in your sense AT ALL.
If you get some metal-lover to listen this piece and Penderecki - Threnody for the Victims of Hiroshima or Ligeti - Requiem - for me it is clear from where they will feel more horror.
Schoenberg intellectualize too much its music/ making it too hard to appeal to the masses as pure terror. Ordinary people can even laugh at some outburst when he is changing the direction/tempo - and those instruments overall dissonant but - bring too much timbre alone to be perceived as terror alone - more like just over-intellectual chamber music.
Great 'singing'. Liked especially the final song, with 1 accompanying instrument
Great film references.
The poignant beauty of disturbed.
watching and listening to Gould is even more interesting than the music.
Schönberg did write music in the years between 1913 and 1923, some of his most interesting pieces in fact: OP. 22, 23, 24, 25 and the Jacobsleiter.
2:00 actually made me shit myself
That was great
mildly agree
12:12 Tonic...?
Nope. Dominant.
Tonic: 17:25
So we don’t even know!! That is super confusing, nice job Mr Schoenberg!
As for Pierrot: Had Gould listened to Schoenberg's own recording (with Steuermann, Kolisch!) or even any old Heurigenlied he had learned what Viennese Sprechgesang sounds like. It is not singing, not even speaking with constant portamenti and vibrato (let alone tremolo). That is more of an English overacting-syndrome as demonstrated by Gould in the beginning. Schönberg's concept is much more subtle and flexible, more akin to Kraus and other Austrian literati reading. Or even the couplets at Josefstadt, where the singing is often more speaking and modulates constantly between extremes.
I have the score... been studying this music for years. Still don't get it. I wonder if some of these compositions are the earliest examples of shit posting. Like "Hey check out this super crunchy shit bitches". " PLAY IT NOW". lol... I love it!
@Steven Moore i agree, it is a over simplified characterization
watch samuel andreyev's analysis and explanation of the work. It shows you that he knew exactly what he was doing and has a justification for every note. With that being said some of it is challenging to listen to even with the academic understanding of the piece...
Anya Silja and Pierre Boulez are the very top in this Pierrot, but this is still fab.
fawk yeawh
Deeply disorienting disarray of disarming sounds that feels a schizophrenic taking shrooms on a full moon night
Ah....not exactly.
Gould did not do part 5: “Valse de Chopin” I noticed here. He hates Chopin that much.
While I am not entirely in agreement with Gould‘s interpretation (whom I still respect as the undisputed authority on Bach piano works to this day), I am just pulled back to today‘s utter lack of intellectuality. What has happened in this all transactional, constantly borderline primitive world?
Emancipation of blacks, mass immigration from 3rd world, dysgenic breeding in relation to IQ
Too weird even for me ...it's like a screaming insane person
C'est étrangement a-corporelle