Josef Matthias Hauer: Nomos op.19 (1919)
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- Опубликовано: 20 окт 2024
- Josef Matthias Hauer (1883-1959): Nomos, per pianoforte op.19 "Frau Agathe Kornfeld gewidmet" (25. bis 29. August 1919) -- Herbert Henck, pianoforte
-- cover image by Laszlo Moholy-Nagy
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![GEEK TIMË [OFFICIAL AUDIO]](http://i.ytimg.com/vi/ry-6RvkH880/mqdefault.jpg)
Also - Mir taugt es total! Bei der Musik finde ich Gedanken, werde runter gebracht und so fühle ich mich wohl !!! Cool !
works beautifully, if you know what to look for....:)
I love this sound,.. it´s like just questions,.. one after the other,. and no answers,. like quantum physiks,. not understandable for a human mind like mine,. amazing
Questions, and no answers ... How wisely said, @round69
I should also say that I enjoy this piece (the one in the video) more than when I first heard it several months ago. It is very slow, but it does have some beautiful moments.
Hauer would love to read this comment section - people using "Kraftausdrücke" to describe his composition! What else to wish for...
Interesting atonal composition. Not many things happen in this piece but therefor it has a nice touch of minimalism ....
+Svatoplukable And 12-tone is diametrically opposed to minimalism -- as am I.
it has an Eric Satie vibe here and there?
@@LendallPitts Hauer is, if anything, the first Minimalist, even moreso than Satie. Even Philip Glass has a single 12 tone piece. How can you reasonably say this is not minimalistic? Its literally a series of cycling tropes.
And I really don't like minimalism either, including this.
from " Rudolf Reti, an early proponent, says:' To replace one structural force (tonality) by another (increased thematic oneness) id indeed the fundamental idea behind twelve-tone technique,' arguing it arose out of Schoenberg's frustrations with free atonality, providing a "positive premise" for atonality. In Hauer's breakthrough piece Nomos, Op. 19 (1919) [solo piano] he used twelve - tone sections to mark out large formal divisions, such with the opening five statements of the same twelve-tone series, stated in groups of five notes making twelve five-note phrases." I compared it to sounds like 'situational music as is used in drama and earlier and later part of cinema silents live player's and Turners reprisal writings parts and sounds rhythmically roluntondo during only the atonal parts like cinema uses traveling nondescript traveling music.
Interesting. I would not agree, but of course, one cannot argue about such things. If you think it's boring, it's boring!
I *would* recommend two pieces, however -- The Piano Concerto and particularly the Suite for Seven Instruments, op. 29, which is a piece I feel needs to be played more often. It sparkles, and nobody knows about it!
Hauer imagined an atonal way of writing music which is quite different of Choenberg's one. The rajectory of the two compsers diverges at that time; Hauer should not be shadowed by Schoeenberg and his pupils as it is now the case. His music has large qualities of its own, as we can hearr in this Nomos op. 19
Schoenberg was atonal and serial.
@joe curtin Schoenberg had a period where he wrote atonally before the 12 tone technique.
@@franckmousset4022 He also wrote tonal music to his death.
@joe curtin Hauer actually came up with serialism oddly enuogh.
No, at any rate. Hauer had a clear idea of what music should be for him : "impersonal". He reached that goal and i like it, for me it's a bite like minimalism before its born.
His system of 12 tone was rudely ignored. A sad event for the twentieth century. His Tropen circle of complementary hexachords is highly interesting.
Give it time! We still haven t really understood what jesus said and it has been 2000 years
the clarinet sound a bite like dialogue de l'ombre double of Boulez, it's a really nice piece especially during the calms moments
the last tone is so fkn deep,
String Quartet No. 1 (except some part) , Pierrot lunaire, Variations for Orchestra Op 31, Serenade op.24 for example. Practically every piece with more than one instrument except Verklärte Nacht but i like most of his work for piano, even though they're are All really short.
This is such beuatiful and intelligent music ! .. TYou have to open your ears to a new type of harmony and new type of melody ... and of course, Hauer is far superios to Schoenberg ... and Hauer ORIGINATED the 12 tone idea, before the other guy ... ut Hauer is a Mystic ... his mysic has transcendantal qualities no other music has, beucase the other composers were NOT transcendtal .. Hauer bridges into the Fourth DImension ... Schoenberg knows nothing of it at all ... and it dismays me that humanity and academics have been, of course, blind to the greatness of this music and to Hauer. Being "Un-famous" has nothing to do with the quality of art or usic ... the greatest musicians and the greatest artists are still unnown ....
Caution People who are fast to judge. In 1919, sorry, what other Music was made by whom?
What were the "pop songs" in these Days?
1919 was the year of birht of my mother.
If i look at babies today and listen to new released Music, sometimes i think, what they will think about it when thy are teens or in the age of 50+.
So, listen and THINK !!!
Wonderful piece of music so much more subtle then Schoenberg's compositions. Schoenberg claimed to have learned from Mozart directly, well - he for sure knew Hauer - who btw called him a fraud.
You must have 0 familiarity with music if you find this subtler than Schoenberg. It practically hits you over the head with its compositional procedures(re). You actually have to analyze Schoenberg to figure out what is going on. Its just about the most subtle music there is because its a music of pure idea, rather than pleasant sounds.
@@coreylapinas1000 well I respect your opinion. But you should learn some things about Hauer.
@@coreylapinas1000 In what way is Hauer unsubtle? It takes a formidable theorist to be able to notice, say, the rotational-transpositional technique in Apokalyptische Fantaisie, especially under a system where individual hexachords can be reordered with complete freedom.
And if you wish to talk about "pure idea," there is no music in existence more perfectly distilled, diligently wrung out of a single motif, than the Zwölftonspiele from Hauer's late life.
Which pieces by Schoenberg do you find boring?
how to write music avoiding any comon melody or harmonic but try to not sound wrong.
3:11
Yeah, it's pretty boring. I keep skipping ahead, hoping to find a "good part," but no luck.
I've taught a few "little" pieces by Hauer to some of my intermediate students. Those at least have some charm, like Gurlitt with early twentieth century harmony.
Josef Matthias Hauer odd man out
Wiedergabegeschwindigkeit auf 2x und yalla
So you like it, then?
I hear a relationship with some pieces form Satie.
YES
В этом я слышу больше музыкальности, и, уж простите, ввразительности, чем во многих произведениях атонального и додекафонного Шёнберга, а уж тем более, Веберна. Радикальные Шёнберговцы критикую Хауера за излишную "простоту" и "тишину" в его музыке, и преподносчт это всё в очень негативном ключе. Так что же они понимают под сложностью? Постоянную смену ритма и темпа? Отсутсвие повторяемости материала? (Или почти полное отсутствие) Атематизм? Сложную гармонию? (и как же определить её сложность, если она не функциональна?) Сложные мелодии? (что бы это не значило. Видимо, это значит, что мелодия не должна (или почти не должна) повторяться) Не поймите меня неправильно, многие произведение Шёнберга, а уж тем более Берга, мне нравятся. Нравится их радикальность и выразительность (экспрессивность) И некоторые произведения Веберна вызывают у меня интерес и положительные эмоции, но более всего откликаются во мне произведения Хауера, Рославца, Скрябина и Берга. В них я слышу музыкальность и выразительность. И пусть даже Хауер бывает менее разнообразен в ритме и материале чем нововенцы, он остаётся прекрасным композитором со своим видением.
if you can't appreciate fine, but know that for me Schoenberg is boring
WTF at 3:12?? Sounds pretty tonal to me. Traitor!
Honestly one of the reasons I'm fond of Hauer. In trying to avoid tonal implications, a lot of other serialists have written pieces that invert intervalic hierarchies instead of abolishing them. I believe Hauer was the first composer, and so far still one of the only composers, to achieve true equality of the tones and their intervals.
A lot of this is attributable to the philosophical division between Schönberg and Hauer. The former and his students had a heavier emphasis on the individual tone in and of itself, with the Klangfarbenmelodie hocket technique being one manifestation of this. Hauer criticized this view, holding the then-radical belief that single tones in and of themselves are amusical, stating instead that all aspects of music fundamentally stem from the interval. Even timbre, in his view, was a manifestation of intervals - the interval between the basic note and its strongest harmonic partial.
For this reason, it would be quite unsurprising that Hauer's music is centered on tropes (hexachords) with "flatter" interval-class vectors, which have a natural tendency to tonal or at minimum free-modal implication, even if fleeting.
why would someone want to listen to this?
To understand it. Music for musicians, not really for the pleasure of casual listeners
@@__414.88b_ Ah, so a "musician" listens to Beethoven "to understand it"? How about Bach? Stravinsky? And you think these guys wrote "for musicians", not for music lovers? Or perhaps Beethoven, et al. is not "for musicians"? Please, enlighten me.
Until 900 almost every piece of music is written with the purpose of reaching the interest of the public. In the last hundred years lot of composers have changed their purpose: mainly focusing on the music language itself, but also experimenting with acoustic and the possibility of recording sounds and making music with machines. If you change the purpose, the first thing that happens is that the piece of music will not sound as one that would be intended for the public.
In this case, the composer is experimenting with new forms and scales that he has invented: you aren't listening to them in a "for-the-public" context, like secondary elements useful to something. You are listening to them for what they are.
@@__414.88b_ "In the last hundred years lot of composers have changed their purpose:" Perhaps. But a lot haven't. "mainly focusing on the music language itself, but also experimenting with acoustic and the possibility of recording sounds and making music with machines. If you change the purpose, the first thing that happens is that the piece of music will not sound as one that would be intended for the public." Ridiculous. One can change the "music language itself" and still intend his music for the public. You apparently don't understand the purpose of art. It's to move the perceiver. If it doesn't move the perceiver, it's bad art.
@@jaspernatchez I'm of the opinion that the purpose of art is to accomplish whatever the artist intends, and if that intention doesn't include the satisfaction of the perceiver, then it doesn't. No one is obligated to make anything for anyone else, and while the vast majority of artists WANT to, it's perfectly fine to make something purely for yourself and whoever happens to like it (musicians interested in theory in this case). But that's just my two cents. If you ever happen to reply to this comment I'd be really interested in your opinion
Actually, Jasper's quite smart and knowledgable, but his brain shuts down as soon as you mention anything in or around the second Viennese school. I think it's a medical condition, really. Don't make fun of him.
At any rate, wouldn't you admit this piece is rather dry compared to Schoenberg's music at about the same time?
it's so much more articulate. all of a sudden schönberg seems to me less relevant than this. schönberg was "better" in spätromantik than in 12tone composition in a way.
9:21