RIP Pollini, one of Schoenberg's greatest champions of the last 50 years. Listening to this recording again in his honor, as well as that of the man celebrating his 150th birthday this year.
Premiering this piece got Stokowski canned from a job once because Toscanini couldn't stand it. Today it's actually one of Schoenberg's more popular works...
@@benschweitzer6307 Well, because it's rather accessible if you compare it to something like the Serenade, and well, most of that post romantic period, which is pretty acerbic. I LOVE Erwartung, it's one of my favorite operas (monodrama but not gonna mince on the terms here), but it's really hard to sell to people, because Schoenberg really "crippled" his musical language in trying to find a new way to express himself in those days. The final stuff "works" because it's very obviously just classicism in form and people get that.
One of my favourite works by Schönberg & one of my favourite renditions. I love the tension between the diatonic and twelftone material, neoclassical and modern tendencies.
@@coreylapinas1000 There are lots of triads and other tertian sonorities in the piece, as well as relatively familiar sounds like chains of fourths/fifths. All of this contributes to a softer sound than a number of other 12-tone works. The final chord is even a C major seventh. There's no real contradiction between 12-tone writing and these things, and Schoenberg makes great use of all of the coloristic possibilities of their combination in the concerto.
There's lots of diatonic material...3rds, 4ths, 6ths all over the place and tonal aspects. It's not as overtly diatonic as Berg's VC. Schoenberg really combined his love of tonal with non-tonal in this masterpiece.
I like it. The dissonance crackles with intensity and the melodies spurt out in sections. He has influenced many movie composers...I hear Leonard Rosenman's "Rebel Without a Cause" a little...interesting.
This really is stunning... Schoenberg's orchestral colouring.... Or perhaps his intentional lack of it. With music like this you must stop hearing it, but seeing it! What an excellent inventor Schoenberg was!
Forwards, backwards, upside-down, and backwards/upside-down. Or, more formally, prime, retrograde, inversion, retrograde inversion. And it is indeed a masterpiece!
This work sounds very American to me. I surprise that he is able to use his twelve-tone technique so freely. At the same time, this is a very easy-to-understand work.
yes. go back & listen to op 11, 3rd piece. you'll get a sense of how his notion of cadential summary absolutely filling the chromatic space with motivic fragments was part of his "tema" from early on.
I like this iteration of op. 42 along with Mitsuko Uchida's work with Boulez. Both get the tempo right: frenetic where needed, but this has slightly more suppleness to Uchida's crystalline structuring of phrases. Sublime!
We're still standing on the shoulders of a giant with this, right up there with Ode to Napoleon. Compared to the 20s works, it's just absolutely phenomenal. The clarity in the orchestration is perfect, it's so balanced in a way most 12 tone music just doesn't do... and of course it is one of the greatest endings in the canon. Those final five notes still haunt me in my sleep.
extremely well crafted piece, yet a bland/grotesque orchestration. So many strange/weird doublings too... I guess he wanted to merge this new harmonic language with the forms/structures from the classical tradition he loved so much. Stil, it has its moments for me and def. I need to keep listening.
Well, it’s a “concerto for piano and orchestra” rather than a piano concerto, so it’s best not to get too hung up on the Classical precedents. The one-versus-the-many dynamic of a piano concerto is absent; ironically, in a piano concerto, the piano would spend more time hanging back for dramatic purposes! What we have is effectively an orchestrally embellished piano sonata, and the orchestra itself is pretty bare bones.
@@DeflatingAtheism semantics. It's a bad work from a genius. The more he went on the more Schoenberg had a hard time thinking in terms of sound and texture. He only thought in terms of building blocks, harmony-counterpoint.
This music is now - less expressionist than much of his early walk . This feels like now . Makes more sense emotionally than Mozart for anyone who is living now . I think asa musicianswe try to understand by looking at scores where obvious harmonies are not so wewalk away feeling uncertain where if we would just listen to the signals we play in the score the "music " would come to us . Schonberg's phrases always have a shape even in their densest fields . Late Carter may be more American and easy to get there is so much deadEurope and dieing Vienna in Berg we don't always get it but the waltzes and like the Gypsy music in Brahms 2nd concerto we need to recognize it to get closer to what it can mean .
it's just so meandering. not all who wander are lost, but this just plunks and plonks and squawks without getting us anywhere interesting in the end. like walking from one end of walmart to the other.
Indeed, it is truly music for the mathematical, technocratic, machine-like 20th century mind. Not a story of heroes, adventurers, explorers, but the soundtrack for accompanying an algebra master as he charts down endless formulae on a whiteboard. Would make a riveting film, wouldn't it?
Did you get past the first few minutes? This definitely isn’t my favorite, but it has its place. I prefer 12-tone techniques when used as a dissonant contrast to a more tonal context. This piece has tonal components, but is broadly 12-tone.
@@ianwilliams2632 with all due respect, it's not a story of anything or for any mind, other than those who like to think themselves to be of higher musical intelligence for pretending to like it. Edit: On second thought it could maybe work as a soundtrack remarkably well. But I feel like that is its highest possible form of being.
@@almosdrozdik6738 Schoenberg wrote down the outline of a program for this work (which he did not want published in a score), reflecting its emotional journey. So on the contrary, the composer thought of the work very much in narrative terms. His music is, in my view, some of the most expressive of its time.
It’s the fact that almost all music programs in every universities demand this type of music and are now befuddled when they see a student write something with melody, harmony and key signatures.
RIP Pollini, one of Schoenberg's greatest champions of the last 50 years. Listening to this recording again in his honor, as well as that of the man celebrating his 150th birthday this year.
I wish he had written more than a single piano concerto, this is great.
He should have been paid mountains of money to write more!!!
Premiering this piece got Stokowski canned from a job once because Toscanini couldn't stand it. Today it's actually one of Schoenberg's more popular works...
@@benschweitzer6307 Well, because it's rather accessible if you compare it to something like the Serenade, and well, most of that post romantic period, which is pretty acerbic. I LOVE Erwartung, it's one of my favorite operas (monodrama but not gonna mince on the terms here), but it's really hard to sell to people, because Schoenberg really "crippled" his musical language in trying to find a new way to express himself in those days. The final stuff "works" because it's very obviously just classicism in form and people get that.
I love Schoenberg, when you get him, you can't go back.
What stunning transparent score this is. Pollini is brilliant and the Berlin Philharmonic Orchestra lives up to their reputation.
The section at 6:14 is my favorite part of the second movement. It’s so funky and creative.
One of my favourite works by Schönberg & one of my favourite renditions. I love the tension between the diatonic and twelftone material, neoclassical and modern tendencies.
What diatonic "material"? Its all 12 tone. Not like Berg where you might get tonal topping with the row. This is as rigorous as it gets.
@@coreylapinas1000 ...well, it's not Boulez :P
@@coreylapinas1000 There are lots of triads and other tertian sonorities in the piece, as well as relatively familiar sounds like chains of fourths/fifths. All of this contributes to a softer sound than a number of other 12-tone works. The final chord is even a C major seventh. There's no real contradiction between 12-tone writing and these things, and Schoenberg makes great use of all of the coloristic possibilities of their combination in the concerto.
There's lots of diatonic material...3rds, 4ths, 6ths all over the place and tonal aspects. It's not as overtly diatonic as Berg's VC. Schoenberg really combined his love of tonal with non-tonal in this masterpiece.
Ungeheuerlich! Wunderbar und erschütternd.
Große Musik , die aufwühlt und alle Hörgewohnheiten vom Tisch fegt.
Pollini in seiner Glanzrolle.
I like it. The dissonance crackles with intensity and the melodies spurt out in sections. He has influenced many movie composers...I hear Leonard Rosenman's "Rebel Without a Cause" a little...interesting.
The Pollini Schonberg solo piano dg album was one of my favorites.
I have to thank you for such a contribution. I appreciate it very much.
Достаточно свободная додекафонная техника
Возможно из за яркости материала иногда создаётся ощущение тональной устойчивости. Отличный концерт.
Wonderful concert and brilliant playing and interpretation (along with Uchida and Brendel)
My favorite C major piece!
😭
This really is stunning... Schoenberg's orchestral colouring.... Or perhaps his intentional lack of it. With music like this you must stop hearing it, but seeing it! What an excellent inventor Schoenberg was!
When I hear Schoenberg's Music all I see is colours like grey, black and white.
@@wellingtoncarvalho7023 holy shit, a talking dog!
@@wellingtoncarvalho7023 Perhaps, but many black-and-white films are considered masterpieces.
When I look at a piano keyboard, all I see is “En blanc et noir”.
Scheonberg is abstract painting in motion. He uses soundscapes as colors. Intense, dramatic and whimsical all at once. Very exciting.
Sounds like a masterpiece played backwards.
agreed
Eceipretsam a s'ti
@@harvc741 .eerga I
@@selimgure .emaS
Forwards, backwards, upside-down, and backwards/upside-down. Or, more formally, prime, retrograde, inversion, retrograde inversion. And it is indeed a masterpiece!
The coda is crazily beautiful.
Masterful rendition! Many thanks for sharing.
Its so beautiful gave me goose bump
This work sounds very American to me. I surprise that he is able to use his twelve-tone technique so freely. At the same time, this is a very easy-to-understand work.
This sounds kinda pleasing, more than his early serialism pieces. But again, I have listened to this more than 10 times, so... yeah.
This sounds deliciously crazy.
yes. go back & listen to op 11, 3rd piece. you'll get a sense of how his notion of cadential summary absolutely filling the chromatic space with motivic fragments was part of his "tema" from early on.
The last two movements are soooooo good
Find it fascinating that Alfred Brendel and Glenn Gould also championed this. There are somethings these geniuses know which elude most people.
Schoenberg’s violin concerto is championed by Hillary Hahn, no less!
Pollini interpretation goes so hard
I agree! Only the cut at 9:00 kills me every time!
I like this iteration of op. 42 along with Mitsuko Uchida's work with Boulez. Both get the tempo right: frenetic where needed, but this has slightly more suppleness to Uchida's crystalline structuring of phrases. Sublime!
Polling and Abbado did fantastic work with Nono's 'Offerte Serene'..that telepathy is audible here too.
I revisited gould/kraft & cbc orch recently. much to admire and enjoy in that recording, esp last movement which really travels!
Both Abbado and Pollini made me be interested in their rendition of Schoënberg's Piano Concerto.
And now here's the star of "Schoenberg or Orchestra Warming Up," Art Fleming!
beautiful
Bravo.
I heard something like this before,..........but then I saw it was my cat playin' with catnip on the keyboard!...........it was a 'cool cat'
His music is said to sound like two songs in different keys played simultaneously! Now that I’m old, his music seems to make more sense.
That would more accurately describe Charles Ives and I think he'd be proud of it.
We're still standing on the shoulders of a giant with this, right up there with Ode to Napoleon. Compared to the 20s works, it's just absolutely phenomenal. The clarity in the orchestration is perfect, it's so balanced in a way most 12 tone music just doesn't do... and of course it is one of the greatest endings in the canon. Those final five notes still haunt me in my sleep.
extremely well crafted piece, yet a bland/grotesque orchestration. So many strange/weird doublings too... I guess he wanted to merge this new harmonic language with the forms/structures from the classical tradition he loved so much. Stil, it has its moments for me and def. I need to keep listening.
Well, it’s a “concerto for piano and orchestra” rather than a piano concerto, so it’s best not to get too hung up on the Classical precedents. The one-versus-the-many dynamic of a piano concerto is absent; ironically, in a piano concerto, the piano would spend more time hanging back for dramatic purposes! What we have is effectively an orchestrally embellished piano sonata, and the orchestra itself is pretty bare bones.
@@DeflatingAtheism semantics. It's a bad work from a genius. The more he went on the more Schoenberg had a hard time thinking in terms of sound and texture. He only thought in terms of building blocks, harmony-counterpoint.
Meep! Meep! Classic Road-Runner music, but it's COOL!
Sounds like a real piano concerto played with all the wrong notes. 😎🎹
Polling is an amazing pianist.
Caramba, c'est du lourd et en plus c'est bon pour la santé !
This is an incredibly complex piano concerto performed by the brilliant Pollini, but for some reason I prefer Mitsuko Uchida's performance.
Schoenberg made an earliet piano comcerto, his suite op 29 for septet! (Joke)
12:19
18:30
01:16 romantic, even.
Schoenberg avait certainement lin ideal orchestral .
0:06
This music is now - less expressionist than much of his early walk . This feels like now . Makes more sense emotionally than Mozart for anyone who is living now . I think asa musicianswe try to understand by looking at scores where obvious harmonies are not so wewalk away feeling uncertain where if we would just listen to the signals we play in the score the "music " would come to us . Schonberg's phrases always have a shape even in their densest fields . Late Carter may be more American and easy to get there is so much deadEurope and dieing Vienna in Berg we don't always get it but the waltzes and like the Gypsy music in Brahms 2nd concerto we need to recognize it to get closer to what it can mean .
This is worring for us...
4:49 and 6:27 go hard
L'uomo a volte è molto bravo a rinnegare la bellezza che può creare.
it's just so meandering. not all who wander are lost, but this just plunks and plonks and squawks without getting us anywhere interesting in the end. like walking from one end of walmart to the other.
Indeed, it is truly music for the mathematical, technocratic, machine-like 20th century mind. Not a story of heroes, adventurers, explorers, but the soundtrack for accompanying an algebra master as he charts down endless formulae on a whiteboard. Would make a riveting film, wouldn't it?
Did you get past the first few minutes? This definitely isn’t my favorite, but it has its place. I prefer 12-tone techniques when used as a dissonant contrast to a more tonal context. This piece has tonal components, but is broadly 12-tone.
@@ianwilliams2632 with all due respect, it's not a story of anything or for any mind, other than those who like to think themselves to be of higher musical intelligence for pretending to like it.
Edit: On second thought it could maybe work as a soundtrack remarkably well. But I feel like that is its highest possible form of being.
Like walking from one end of Walmart to the other listening to piped-in Schoenberg. That’s the beauty of RUclips.
@@almosdrozdik6738 Schoenberg wrote down the outline of a program for this work (which he did not want published in a score), reflecting its emotional journey. So on the contrary, the composer thought of the work very much in narrative terms. His music is, in my view, some of the most expressive of its time.
It’s the fact that almost all music programs in every universities demand this type of music and are now befuddled when they see a student write something with melody, harmony and key signatures.
I wish this was the case :(
In what world do you live I wanna go there
This has melody, harmony, and key signatures
@@GUILLOM there were critics malding about chen qigang when he premiered his reflet d'un temps disparu, which has long flowing melodies
@@PM_ME_MESSIAEN_PICS art critics are some of the worst parasites of this world :D
Excellent score video quality, though, not a big fan of the music.
This sounds so awful I swear
A major pianist and a major symphony playing a concerto nobody care to listen to.
I do.
Interesting opinion... (i do care... Schoenberg 1 Nobody 0)
Literally this is one of my favorite concertos.
Count all versions of it on RUclips together and from these all views - it's not that little.
This is my favorite piece. If I couldn't listen to it, I would be adrift.
This sure steals a lot from Bartok's piano concerti!!!!
No it does not.