Anton Webern, Cinq Pièces, op. 10 - Ensemble intercontemporain
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- Опубликовано: 7 мар 2019
- Anton Webern
Cinq Pièces, op. 10
pour orchestre
Ensemble intercontemporain
Matthias Pintscher, direction
Enregistré en direct le 04.09.2018 à la Cité de la musique - Philharmonie de Paris 
Видеоклипы
I- 00:10 - 01:01
II- 01:01 - 1:32
III- 1:37 - 3:20
IV- 3:20 - 3:55
V- 4:00 - 5:22
Thanks
"on peut le considérer comme un des plus grands musiciens de tous les temps, homme indélébile." Pierre Boulez.
Incredibly radical when it was first composed, this work is scintillating and beautiful. No doubt many classical listeners still find it off-putting, but give it a chance and you will find yourself drawn into Webern's magic. Poetic, mysterious, and utterly ravishing.
I also wanted to say, 'Well said!' but someone beat me to it.
During high school, circa 1960, I listened to this piece many times, as conducted by Robert Craft. This piece (along with several other Webern compositions) became lodged in me, deeper than my own DNA, so to speak. Craft was wonderful for his time (using studio musicians from the LA area, I believe, like mercenary soldiers, who may or may not have loved the music?); not surprisingly, this performance is, in various ways, better -- as exquisite as the music itself, one might say.
There is so much music like this from my college days. At first I found them impenetrable, now I find them sources of never-ending beauty. Specifically the Schoenberg Vln. Con., Piano Con., and wind quintet. Wouldn't Schoenberg be suprised by the number of recordings of his Violin Concerto.
@@Verschlungen I read somewhere that Craft was allocated studio time with the session musicians (who made up a fictitious studio only orchestra), to record these small pieces once larger works were in the can and there was still time on the clock. Several of these session musicians were emigrés who fled Europe during the time of Hitler, mainly because they were Jews or were considered "impure" for whatever reason, and it is likely they would have known the music of Schoenberg, Berg and Webern from their time in Austria or Germany by reputation of not as performers. Hollywood was awash with high calibre musicians who could sight read Webern's scores.
I still treasure the idea (provided my memory isn't playing tricks on me) of Marni Nixon rehearsed the Webern songs in Stravinsky's home. I still wish that Stravinsky had written something specifically for her in his serial period on the back of those rehearsals. I wonder how many lovers of her work in The King and I, West Side Story and My Fair Lady would recognise her as the same singer!
Without the patronage of CBS, albeit piecemeal rather than wholehearted, the Craft recordings would not have been made and Webern's music could well have languished until Boulez had a higher profile. Remember also the recordings were issued in 1957 (but it took two years to record Webern's tiny output), 12 years after Webern died, so this was very much new music. We had to wait until 1979 for the first of the Boulez box set recordings. I aim the proud possessor of all three sets. I have a strong affection for the Craft recordings, despite the excellence of Boulez sets.
It's still highly radical even today.
Webern's music gazed into the future far more than contemporary postmodern composers have, who have been trapped in the world of pastiche and irony.
@@sonder152 It's a sign of cultural decadence that postmodern composers are only able to create ironic paste-ups. Not just the composers but also the audiences, who loathed all atonal music. So now many composers give them what they want; watered-down retreads of Mahler and 1930's movie music. Bah!
These pieces made such a strong impression on me when I first heard them nearly 60 years ago.
Thank you very much! One of the most magical, sophisticated and stunning composition from Webern. So beautiful...
Only trumped by his six pieces for Orchestra op. 6
Han transcurrido cien años y estas composiciones siguen siendo innovadoras. Las prácticas de ejecución mucho han venido contribuyendo a desarrollar el gusto: este es un ejemplo admirable.
Pienso que una diferencia sustancial con las artes plásticas, es que no tienen un precio de mercado conforme al apetito de coleccionistas en las subastas internacionales.
La música es algo mucho más abstracto, más conceptual, más accesible: es algo que se puede atesorar en la memoria y en el corazón de un público mucho más amplio, que aprende a disfrutarla sin necesidad de poseerla.
Que bonitas palabras. Gracias por tu comentario.
Webern was a time traveler and wrote this piece from 3,000 years in the future.
Nah, a few years ahead of it's time maybe. Dadaism was just a few years away and some artistic vanguard movements were already happening simulteneously, like futurism. This is just modernist music. Modernism is old.
Dutch composer Willem Pijper once commented that two minutes of Webern is an entire Mahler Symphony and I agree. This music to this day is still unequalled in beauty and intensity. I did not think the performance was exactly flawless, especially on the percussion timing, but I'll take any performance of this masterpiece.
Actually, 30 seconds of Webern is three of the larger movements of Mahler and 5 minutes of Beethoven's First Quartet, divided by Bach's Cantata 104.
Both Webern and Mahler are excellent composers. I can't understand the comparison.
@@Quim141 Yes, they both are excellent composers and I know Pijper didn't imply they, or one of them, wasn't. The statement is an expression as to indicate how incredibly compact Webern is, in short, what takes Mahler to express in hour and a half in one of his symphones, Webern does in one of his extremely condensed works, which in no way has anything to do with being better or worse on to the other.
Don't take it too literal.
@@voiceover2191 thanks for the explanation. Appreciate it.
One of those composers wrote beautiful music with rich harmony, while the other produced incomprehensible noise.
My favorite Webern's piece !
The equivalent of listening to Bach somewhere around the 1850's. Old school and undeniably brilliant. Who needs ultra modern when you have this? Brahm's says to himself it's time to bring out a symphony.
Undeniably brilliant? Have you ever read "The Emporer's New Clothes?" There is no difference between this cacophonus nonsense and the sound of a toddler banging on a Grand Piano.
Reminds me I have to write an symphony for 100 coughing old man and woman
haha right
It is always like that with any Webern performance. The music is so dense and suspenseful and demands so much attention, the average concert hall visitor can't handle it. I've seen that with all concerts with music by Webern.
Thank you so much for posting this! This might just be my favourite channel on RUclips
what is so beautiful, especially in this piece, are the unexpected crescendos, no real teleology, and no real Ta Da!! alles erloest
Excellent!
Gorgeous.
A quand l'interdiction des gens qui toussent pendant les concerts ?
C'est inadmissible, en effet... je ne peux pas partager cette prestation pour cette raison
Et ceux qui pètent?
@@MrRobinthiodet Ca dépend si le pet est bruyant ou pas
Si tu tousses, tu get off
SO NOBLE AND ABSTRACT,I LOVE AND THANK FOR POSTING
merci monsieur courtot de nous faire écouter ces horreurs ...
That's beautiful! I learned to understand and like Webern. So I passed the point of no return: he tells short but dense storys of colors and living creatures. Sound creatures.
(I had the opportunity to conduct the Drei Volkstexte Lieder some years ago. Great experience with great musicians!)
Bravo, E.I.!
Musical haiku. War and Peace condensed to five brief sentences.
Webern condenses a novel into a sigh. A. Schoenberg
Una domanda: i vostri stipendi sono uguali sia che eseguiate Webern o Brian Ferneyhough ?
The damn coughers strike again. Still a great performance and piece!
Beautiful!
Wondering if he made the music for gnomergan
Anton Webern - Five Pieces for Orchestra
No simpler way of setting forth the state of affairs.
Será que me falta inteligencia o sensibidad para disfrutarlo.
bravo
Chilling stark alien in that higher dimensional way. Like what we can perceive of it is just a shadow.
Musique à suspens.
Podría haberse compuesto ayer. Bello.
Bravo!
If only the audience could contain its coughing...
I thought it was a symbol at first. That is terrible
At least there will be one positive effect of COVID pandemics: these guys will be banned at the entrance...
Like that even matters?
The silent ones are already sleeping.
so good ...
3:23
Jewels
Harp exhaust for sure, they have to switch key
omg the coughers
Aww gees, really goood.
Downright cinematic
:)
exquisite
gg
Pristine music! Is Victor Hanna no longer in the Ensemble?
Hello. Victor is even no longer a percussion player.
eh? è finito?
Des semaines de travail et de répétitions gâchées par des tousseurs ostensibles... >:( Vivement le reconfinement !
The musical equivalent of Salvador Dali.
The funniest part of all of this is that the goofballs in the audience who eventually clap like trained seals who have just heard something deserving of praise, had NO IDEA that it was over! The conductor's expression at that point was hilarious (5:12)...
I tried to think nice thoughts about this performance at first (see my Reply to Tom Furgas: 'Well said!),
but on visiting it a second time: No, Robert Craft's recording from the 1950s is still the best. No contest.
From certain outward appearances, one might expect that this performance would be better, e.g., total duration of 5:19 (net of applause) vs Craft's 4:11. In this Ensemble intercontemporain performance, we hear such careful, 'respectful' playing, with every note executed so precisely and clearly. What's not to like? But that's the problem: It's too 'respectful,' too deliberate, too surgical, and thus fails to present Opus 10 as a living, breathing piece of passionate music that is GOING somewhere. (It seems that stretching it out to 5:19 vs 4:11 prevents it from having the needed 'momentum' for lack of a better word.)
The oboe solo on two notes, C and B, at 4:43-4:49, is emblematic of the problem: Surely those luxurious 6 seconds (!) to play two notes afford the oboe player time to be expressive? Well, yes and no. It's the 4-second version of those two notes in the Craft recording (at 3:47-3:51) that comes across as quintessential Webern, as "a whole novel in a sigh" -- the very thing that Schoenberg admired in Webern.
Try the Boulez edition containing the complete works, perfect performance in my book.
@@voiceover2191 which Boulez recording though? He recorded Webern with CBS (now Sony) and DG.
@@Gwailo54 I mean the 3 CD box from Sony with Webern complete works and Boulez directing.
@@voiceover2191 The original CBS label marked Volume 1 but volume 2 was never forthcoming. I had hoped that Sigfrieds Schwert (broadcast in Radio 3 in 1983, conducted by David Atherton and sung by Robert Tear) would appear on a commercial recording. Early Webern was fascinating stuff in its own right.
tuberculosis outbreak in the audience
Coughs should be prohibited in a concert
EIC......need to bering back susanna mälkki......
He made horror movie music before there were horror movies
It’s almost like this music existed before film scorers started using it in horror movies or something...
LSD
Balotelli
Pirlo
@@massimilianolauer23 oh hallo kind
@@massimilianolauer23 italy = bad
@@nicholasrueda321 love the music tbh
Great performance, rotten audience.
Quelqu'un a ajouté une harpe faisant une quarte juste fa - si bémol à l'ostinato de la première partie. Et il y en a d'autres. Plaisanterie inutile
Riveting.
FRANK ZAPPA!!!!
"When I REALLY want to relax."
Deswegen sind menschen unterschiedlich ! Ich empfinde absolut kein Gefühl für diese Musik , im Vergleich zu pärt oder Pachelbel ...
some creative, interesting novelties. mostly bullshit
that's what your wife thinks about you
@@postrock3374 sadly, I must admit you are correct. Very intuitive.
What on Earth is this, there's more silence and pauses than actual music. This doesn't contain any melodic or harmonic scales or anything, it's just random progressions and combinations on random instruments. I guess it does represent a different genre of classical music (or music in general, if you can even call it that), but still. I don't see how this is appealing to anything.
Wrong.
Start with his op 1, that work exhibits a more obvious connection to the world of cllassical music - the influence of brahms and mahler are somewhat easily discernible. Webern is universally recognized as one of the most important and beloved exponents of atonal and serial music. It is worth trying to figure out why that is so.
@@stueystuey1962 ok but imo this piece lacks any meaningful musical melody. It sort of resembles some of prokofiev and brahms' music in that aspect, and I don't like it. I am NOT, however, insinuating that Webern himself is a bad composer. It's just that this particular work does not strike my fancy. I guess I may have miscommunicated my thoughts in my original comment, in any case i apologize for sounding like a hater :\
Why must music have a "meaningful musical melody" by which I assume you mean a tune you can hum in the car on your way home? There are quite a lot of melodies in this music, it's just that your definition of melody is very narrow.
You are like the opposite of the Austrian emperor complaining to Mozart "Too many notes, my dear Mozart, too many notes"
Just because you don't see a structure you can make heads or tails of, it does not mean it is not there, I assure you there is and not single note is random, nor its orechestration.
As to lack of melody, I disagree, there's plenty of melody, it's just not set to a specific harmonic scale. That's why this music is called atonal.
Sorry, it doesn't appeal to you, but when you are used to tonal music, like with melodies set within a certain key and harmonies combined according to typical rules of chord progression etc, then it makes sense, that at first this will be hard to enjoy as it is like a completely new language.
It speaks in a voice you don't understand, you hear notes, so you know it's some kind of language, but it doesn't make sense to you.
As to the amount of silence, the absense of music is an integral part of music as it creates all kinds of emotion like tension.
I'm not saying you should like this music as we're talking about one of the most famous and influencial composers of the 20th century, that's bs, but maybe you should give it more of a chance as it can be pretty demanding.
And maybe, its simply not your kind of music, which is fine also.
Mathematics in sound. I never want to hear this again.
I felt that way five years ago. Couldn't stand it. Now it sounds sensuous and evocative to me.
Once was bad enough,
What an awful racket! Good for scaring the dog.