My reminder is the final scene of Götterdämmerung. Brünnhilde burns herself alive, Hagen is drowned by the Rhinemaidens and the whole world collapses; so relaxing!
I grew up listening to my father, while working in the yard on Saturdays and at the same time listening to the Met Opera. He also played lots of conventional classical music. As I got more involved in all aspects of music and he asked me if I thought he would like the record he had just purchased of "The Rite of Spring." It was innocent to me, but he hated it and gave me the record. I brought my first 20th music 33 1/3 RPM and it was Stockhausen and Boulez. I loved it. From then on there was almost no music that I did not love. The Smiths are great. Toscanini is a great conductor. Jazz I love most of it. - Yes. RAP - Amazing poetry, but music not my favorite. I have worked on all of the Mozart piano sonata's over 40 for years. I like it all. What do I like best? Each era has my own favorite, whether it be Bach, Mozart, Schumann, Brahms, Bartok. Shostakovich, Schonberg, or Cage. I do not "get" people who put a boundary around certain things and claim everything else is their "cat running across the keyboard."
As a pre school kid I refused going to the kindergarden. I couldn't listen to music there. At home, we had a lot of long plays, Mozart, Beethoven, Schubert, Sibelius, and, a little exotic in those times, Stravinsky's Petrushka. And a lot of jazz, Chicago blues, and Gershwin. Thanks to my parents, I grew up "bilingual", which, looking back after more than 55 years, opened my ears to the modern times, and to the world.
Being mostly a 'rock'-listener I really TRIED liking classical music for years as a young man... bought Mozart and Bach and Beethoven discs, they were quite nice, but it didn't really click for me until I discovered Schoenberg. THAT was my kind of classical music.
It's tonal, but the use of distortion adds some noise that's, at least to my brain, adds something that is a bit similar to the weird chords in modern classical music.
I think it's the rhythm, for me it is. The ostinato in the first movement, then the offbeat in the second theme of the slow movement, the play with metre in the Intermezzo and in the finale... I know almost nobody of the commentators here would not agree but I do enjoy listening to it.
Something happened to me in the last 10 years since I listened to this the first time. I can hear the links between the motives now. It sounds almost tonal to me. Amazing.
It happens me the same but with a year of difference, it's amazing; it doesn't sound tonal, it rather sounds like every chord could be the tonic but remain dominant relationships among them.
here's my own interpretation after years of listening to atonal music, YMMV: there is emotion in the music, deliberately obfuscated by no tonal centre. but because rhythm and dynamics are still "conventional" (something that xenakis or stockhausen will tear down), the emotion came through...
I love coming to videos of music by composers such as Schönberg, Webern and Boulez not just to listen to the music, but also to see the endless streams of listeners stating that not only do they dislike this music, but it is actually ‘objectively bad.’ It is simultaneously sad but also very amusing.
I agree, this is sad. A lot of people cannot be conned into liking really crappy music. What a sad state of affairs this is. Have you heard about surströmming? It's amusing that many people not only hate it and call it "rotten fish", but they will also say that it is objectively bad. What a sad world we live in.
Funny I was just thinking what Ornette Coleman was to free jazz in 1960 is what Schoenberg was to classical music, after that it just wasn't the same any more. Again what I find interesting as in the piano concerto is the rythm.
You know what's interesting Ornet Coleman is that some of jazz's greatest players Like Freddy Hubbard sounded square playing in that context. Pianists almost universally sound like well ok now your just superimposing your regular bag onto this Ornet thing. Keith played wrote superlative Harmelodic in the 70s with both his Eropean and American bands. But especially his American band with Dewy Redmond & Charlie Hayden. Listen to Gotta Get Some Sleep and Mushi Mushi from Bop Be. Even though Ornet ain't there it's for sure his bag. But there's a innocence like a big dog that comes through Ornets music to me that really isn't in Serial. Serial music Especially Webern is more greeting cards from an Alien Planet.
It sounds so messed up and frantic. Like something is going wrong every second, I love it!!! On a side note, for some reason, this reminds me of A Mind of Bauhaus Principles from Psychonauts!
I'm not the world's biggest fan of Schoenberg, though I think I can understand the appeal. That said, I find it disheartening that any sense of respect for other tastes and preferences completely breaks down in this comment section. I've seen the comments "Degenerate music" "Crazy music" "If you listen to bullshit enough times, the brain will begin to imagine patterns that are not there." and "after the first few bars I switched directly to Mozart." There has to be a better way to debate the merits of atonal music than this.
I've been listening to Schoenberg for so long that this sounds completely normal to me. It's got melodies, I can hear the harmony and the rhythms intensifying and relaxing around climaxes, I can feel where the music is going emotionally the same way I hear any other music. I can't even imagine it being unintelligible noise.
this reminds me of the first time I heard one of schonbergs classics. It was in the mid summer of 1985 while I was reading one of leo tolstoys classics in my local library after a tough day at oxford university studying law. Brings back memories
00:09 - I. Moderato - Forme sonate - Exposition - premier groupe thématique 01:27 : Exposition - second groupe thématique 02:15 : Développement 04:01 : Réexposition - second groupe thématique 05:34 : Réexposition - premier groupe thématique 08:18 - II. Theme and Variations (Adagio) - premier thème 09:11 : Première variation (second thème) 09:54 : Première variation (premier thème) 10:45 Première variation (second thème) 11:28 : Deuxième variation (premier thème) 12:09 : Deuxième variation (second thème) 12:57 : Troisième variation (premier thème) 13:50 : Troisième variation (second thème) 14:49 : Coda 17:05 - III. Intermezzo (Allegro moderato) 23:57 - IV. Rondo (Molto moderato)
Bernstein on Schoenberg 5 posts on this channel. Although Bernstein only wrote tonal music he clearly admired and was deeply fascinated by Schoenberg and Berg.
Also worth pointing out when reading the score, though it doesn't transfer to listening (it should be conveyed - subtly, not shoutingly, by the players) - Schoenberg had some ideas about how to make notation clearer (his pupil Berg used them too sometimes, see the score of the Lyric Suite, eg) - the "H" above a line (with a line extending from it) means "Hauptstimme" (main voice- most important at that time), the "N" means secondary voice. This is all relative- he didn't write or especially care for Rococo (melody-and-accompaniment music) (and was rather unkind to Telemann and Mathison in an essay- this was before their music had been much revived...) , so any notion of main vs. accompaniment, again, a relative thing, but still, he does point them out to be helpful, in this score for example.
That actually kind of funny how a simple melody like that seems to pop out of a piece that is entirely dodecaphonic, and also during a very intense section
I guess it has to do with two things: one is that there are a lot of short notes, so your mind interprets this fast rhythm with "having to pay attention to something that is closing in". The other is that even if you don't know music theory, if you have listened to the radio in the past 7 decades, most music has an inherent coherence your mind is used to now, and it's not finding it here. If you also like movies, a lot of suspense is transmitted with a similar musical theory used in this piece. So that's something you might be able to relate to this actual experience. My 2 cents. I could be wrong though.
You're used to hearing "tonal" music. Music that uses "do, re, mi." That music has a "home-base," called "Do." This music is "atonal," which basically means there is no "home-base." Therefore, it feels very unsettled, unresolved, and tense.
it is (especially 3rd movement) atonal, that is it has no tonal base. because it has no tonal base, it can't "resolve." While our minds can grasp the intelligence involved in creating and playing this, most people can't get much out of it without a score to see the structure. It's like a building with no right angles (see LA's Cathedral of Our Lady of the Angels). There is nowhere for the mind to rest or even to know if rest (resolution ) is ever coming - as a result the passages seem interminable. It can feel exhausting to listen to this music. In addition, this piece has quick jerky tempos. The effect for me is not unlike taking a bath in itching powder, when mixed with the atonality. Music "experts" tell us this is a masterpiece (and believe me, I know because i'm married to an Ivy-League doctor of musicology), because they hear and see the structure involved, but the majority of people don't enjoy listening to say an entire concert of this. Sorry, I view it somewhat as "art for art's sake," an academic exercise or science experiment which rejoices in its own genius, but is too difficult for the average Joe or even for many above-average Joe's to much appreciate. People can learn to like this music - I just don't see the point in making the required effort for myself.
Professor David Huron, an expert on music cognition at Ohio State University, has studied some of the underlying reasons why listeners struggle with such modern classical pieces. [NOTE: listeners still struggle, and a 50 or 60 year-old piece is hardly modern anymore.] He said: "Much of what the brain does is to anticipate the future. Predicting what happens next has obvious survival value, and brains are remarkably adept at anticipating events. "We measured the predictability of tone sequences in music by Arnold Schoenberg and Anton Webern and found the successive pitches were less predictable than random tone sequences. "For listeners, this means that, every time you try to predict what happens next, you fail. The result is an overwhelming feeling of confusion, and the constant failures to anticipate what will happen next means that there is no pleasure from accurate prediction."
Sorry to tell you but Wagner music is very primitive and unoriginal compared to Schönberg music. It's much more likely that the most famous classical composers are gentiles since there are much more gentiles than Jews. In addition, most of the famous classical composers lived before the Jewish emancipation. You can't ignore the fact that Jews are the largest ethnic group in science, compared to their percentage in society. Just look at the Nobel price charts. You know what's great about science? It's completely objective, the only thing that matters is truth, this way science is immune to irrational religious propaganda of the Nazis and people like you judging a work based on the creator race. When Einstein published his revolutionary paper on relativity the Nazis didn't accept it, they called it Jewish physics and planned to kill him - one of the greatest minds in history (luckily, he managed to escape Germany before that). Hitler was retarded, he just destroyed his own country and humiliated Germany even more than in WWI. It seems like your parents raised a perfect neo-Nazi, close minded, racist and most importantly a good obedient soldier that can't think critically for himself.
...or maybe just a troll who considers himself funny making such statements in 2018. come on. even troll-like behavior itself has become obsolete by now
Interestingly given the very careful tempo indications, the recording I have (Aron-Quartet, from a complete set available cheaply on Amazon) differs a bit in timings, one movement fairly substantially. Will have to see if it's because they take sections at a different tempo or for some other reason...
All this discussion of how to build and diffuse tension has missed out on the refinement of time and rhythm which occurred in 20th C. music as tonality and harmonic progression began to be an exhausted element for the most creative composers.
There is no doubt that he was a great composer. Hs technical facility is phenomenal. But there is something disturbing about a human writing music that is just so disturbed...
What on earth is so "disturbing"? I think the disturbances are all in your head. This is nice, relaxing, traditional orchestrated music, nothing very odd or revolutionary about it. Merzbow, that's okay to call "disturbed" because he is an overt sadomasochist. But Schoenberg? Rather tame compared to today's experimental art music.
It's a musical language that has to be learned by listening. As a radical departure from traditional harmony, it is certainly disturbing at first, and that is part of its aesthetic. But eventually, you get comfortable with the language and hear it differently.
I'll never understand why anyone thinks Schoenberg is "disturbing" or "disquieting". If you want disturbance, check out Merzbow, Metalux, or other noise artists. Xenakis sometimes can be jolting. But Schoenberg? Come on, man! I find his music very relaxing and soothing, hits all the right spots. I'm gathering a collection of CDs of Schoenberg's compositions. Very rewarding and inspiring for my electronic music and abstract soundscapes.
@@newaccounter I have yet to hear anything by Schoenberg that is "disturbing". The only thing disturbed is expectations conditioned by concert going and Western civilization "music theory". Peace!
The hostility in some of these comments is baffling. This piece really isn't that different from Classical/Romantic era string quartets other than the atonality.
The atonality is what I would assume most people are taking issue with. As a technical piece, it's very well made, but very few people would consider this an enjoyable piece to listen to during their leisure time.
@@dalereynolds8716 Likewise. In particular it's not all -that- far from Reger's Op.74 quartet or Op.77 string trio (or some other works in that orbit- and there's no coincidence there, Schoenberg wrote a fair amount about Reger.)
I find above all that the expression, atonal music, is most unfortunate - it is on a par with calling flying the art of not falling, or swimming the art of not drowning. Arnold Schoenberg
The secret sauce is the head-motif being the harmonic -minor scale (Forte # 7-32) and its compliment Elektra Chord (Forte # 5-32) to fill-out the series. The mode of harmonic -minor scale #7-32 is in its 6th diatonic scale-displacement a.k.a Super-Locrian ♭♭7.
The Grosse Fugue has been one of my favourite quartets for decades, so I can see where you get that. However, the Grosse Fugue is incredibly structured and thought out despite initially seeming to be random like this one.
@@billguyan9626 hmmmm? Could it be? Could this also ONLY seem random? Just like Grosse Fugue seemed random at first? No. Definitely not. This is nonsense, obviously.
What is that mark in the viola part at the end of measure #25? I think it marks the end of one phrase and the beginning of the next one, but that's a guess. Thanks!
Perhaps not, but I don't think your comment pertains to the present music. In m. 70, the violinist plays both Ab2 and Ab3, but the pattern would be more meaningful if the latter were Bb3 as written. Of course, the piece will not stand or fall depending on this one note.
I didnt know such a way of composing existed. I stumbled upon this cuz my subject required me to listen to it. I'm feeling rather depressed listening to this.
I hear the fast rhythmic accompaniments much more than the Hauptstimme melodies (especially when the melody is in the 'cello). Is that the performance, the music itself, or just my ear?
I listened to it again when your comment appeared. I now find that I very strongly hear the treble Hauptstimme, but not the bass. I've noticed that recently in lots of different kinds of music (including live, so it's not my sound system). It looks like I might be losing my hearing from the bottom up. :^(
This would be great accompanying music to the internal dialogue of the narcissistic rage of a malignant narcissist. Such a construct of the world would be totally distorted in the “normal” sense, where cold-blooded rage is directed towards anything that assaults the narcissist’s fragile self-image, where the narcissist claims victimhood and injury.
selon moi la forme du quatuor domine de très loin l oeuvre sérielle de schoenberg qui se dit attiré par mozart dont les mânes tressaillent aux coins et aux recoins de cette partition mystérieuse , schoenberg n a pas été encore entièrement découvert ,,
For those who like this piece, what kind of emotion it represents? Is the range of emotions in atonal music restricted somehow? Because i still dont really get it.
I agree that the emotion is not obvious. I think the composer views emotion in a similar way that program music was viewed, that is, as something secondary to the development of a musical idea and the process of creating. I read a little of Thomas Mann's Doctor Faustus, which he researched for by learning about Schoenberg, and the composer in that book says something about emotion being so readily evoked by music that it needs to be tempered, I guess by strictly following a development of notes (through some creative process), and that to specifically try to develop a feeling with music is superfluous. So we are expected to listen closely and identify musical ideas and listen to what they do, because I guess that's what this music has a wealth of. I believe even if you're not trained in music you can still do this. I say definitely don't try to take away emotion from this kind of music because that's not what it is offering as its primary gift.
mozart a influencé schoenberg fasciné par le génie du maître de salzbourg , l'art du quatuor est une forme de création exogène , si différente des autres formes de création qu'il devient impossible ou erroné de l'assimiler aux formes de musique de chambre classique comme l'opéra se distingue des chants religieux ou même des lieders ce qui peux expliquer que des génies comme JS bach schubert brahms ne composèrent pas d'opéras contrairement à un mozart qui disait dans l'une de ses correspondances ,, AVANT TOUT ETAIT L OPERA ?? on peut se demander ce que cachait la pensée de mozart lorsu'il évoquait les formes complexes qu'étaient l'opéra et le quatuors sur lesquels on connait les difficultés que rencontrait le maître lorsqu'il s 'attaquait à la forme quatuor et mozart qui dédia ces six quatuors qu'il appela ironiquement ses enfants tant il rencontra de problème pour venir à bout des formes musicales du quatuor ,,ce sujet mériterait thèses et conférences et les musicologues devraient commencer à s'atteler à une tâche colossale ,, pour ne pas dire impossible mais qui sait
@@segmentsAndCurves Jazz people have a chip on both shoulders. They are the one's who need to shut their mouths. YOUR opinion is too HUMBLE to matter to anyone who is a real musician.
This is a bit too modern and radical for me. It just sounds quite mediocre and random. I could understand and appreciate some of Bartok's and stravinsky's works. I'm still trying to like Schonberg.
My feelings yes , Mozart was writting popular music when it came down to it , A lot of his music is divine but a LOT of it was crowd pleasers , if you know what I mean ,
For the same reason people tend not to like food that has excrement mixed into it. But hey, really rich people love coffee that's been pooped out of a civet's ass, so, kind of the same thing at work here.
You are narrow-minded to compare Mozart and Schoenberg in this way, and in the end, your claim comes down to an assertion of your own opinion. I could say for certain that all music created after Mozart is better than Mozart. Do I still love Mozart? Even though all the music after is, by some mysterious and undefined "objectivity," much greater and more impressive, I return to Mozart occasionally for his perfection in the cells which he created by. I could say this: "If Brahms is so much better, if Beethoven is so much better, if Debussy is so much better, so much more *advanced*, then why do I return to Mozart?" And yet we do. To prove that you are wrong in your way of thinking, consider the following - separate both Schoenberg and Mozart from their eras and styles. Now, separate them from their tonalities, harmonies, melodies, musical notes, whatever. Preserve those elements of music that serial composers focused on - rhythm, motivic threads, intervals, energies, patterns, forms, structures. Looking at in this way, we can see that where Schoenberg is interesting and new, Mozart is perfect. Each cell, each pattern, each strain, fits among each other beautifully. In Schoenberg, they are never perfect (and I believe Schoenberg himself would agree); they are fresh, purposefully obtuse and designed to vex and impress in other ways. Now drag them back together. Schoenberg is the same; yet Mozart has become more beautiful. There are now relationships between chordal sounds that are known by moods, and not just by intervals, as in Schoenberg. There is an peaceful serenity absent in most of the designed chaos of Schoenberg. There is an otherworldly feeling, a feeling of ascension and heavenly grace; in Schoenberg, there is mostly a bleak humanity, a strong individual expression, and an underlying current of destruction of the old and traditional. Schoenberg and the 2nd Viennese School said it themselves, when they claimed that it was no longer possible to understand music in the same way it had always been, that they had to shatter old traditions. The truth is, you probably know why people return to Mozart. You just want to feel superior. That is pathetic. You feel superior and smart because you like this music, and you believe that you are special for it. You have to put down those who like Mozart. You have to dismiss Mozart and his music, and suggest all those who like Mozart more than Schoenberg are just idiots incapable of understanding Schoenberg. At that point, I can only say you are lying to yourself. You can like Schoenberg more than Mozart. That is respectable. But you cannot attack those who like Mozart more, or I could only call you an insecure bully.
+olla-vogala No way! You've made my day. I would love to see a video that follows the solo line of Dutilleux's violin or cello concerto, but that might be a lot of work. You don't have to do it if it proves too hard to procure the score, etc. Instead you could try Duruflé's Requiem (organ/choir version)? It's your channel! I'm just grateful you're uploading so much! Thanks :)
Baby Jones The Duruflé I can do, but I don't have Dutilleux' violin concerto score, or cello concerto (tout un monde lointain, I guess you meant). Do you have one of these?
Keine gute Interpretation. Die Melodiestimmen singen zu wenig, sind zu wenig gestisch. Eine typische Interpretation aus Zeiten, als man meinte, Schönbergs Musik wäre nur Mathematik. So spielt man das heute nicht mehr - zum Glück.
I just read the comments on this piece. My god, why are classical musicians/classical music fans some of the most pretentious, gaudy and annoying snobs on the planet?
They think they're intellectuals because they can read music and don't listen to pop or trap. That is quite literally it. God complexes all around. For them it seems to be less about enjoying music and letting everyone know how much they enjoy it.
Why do you need a composer for this? I could easily write program that generates music that sounds terrible. This literally sounds like randomly generating notes after each other lmao
Aside from the meaningless, ugly harmony and histrionically jumpy "melody", both typical for this faker, most annoying are the 8th note figures that repeat ad nauseam for some reason. I guess he was hoping he'd be mistaken for Beethoven.
Yeah, I can't really understand the appeal of atonal music, harmony and tonality exist for a reason. Without structure music ceases to be music and becomes a collection of noises.
"but now i think its very interesting" Actually, you've just gotten used to meaningless sounds. If you listen to bullshit enough times, the brain will begin to imagine patterns that are not there. Anticipation is caused by habit, not by the music itself.
Theodor Adorno hated Jazz, and saw it as a product of the culture industry and late capitalism. But he loved Schonberg. I don't get it... You could program a computer to randomly generate music like this. Jazz takes the rules of common practice and bends them them to create harmonious modulation and circular movement. Jazz is much more sophisticated than this in my opinion.
You can program a computer to write any type of music, full stop. It has been done time and time again, and they are indistinguishable from those written by humans. To pretend this is any less deliberate and thoughtful than jazz is ignorance
This piece reminds me of the people who say they like classical music because it's relaxing.
My reminder is the final scene of Götterdämmerung. Brünnhilde burns herself alive, Hagen is drowned by the Rhinemaidens and the whole world collapses; so relaxing!
@@thegoatjesus6133 However, the Rhine remains.
In other words, NPR's reason for existing?
@@scottziegler4238 National Public Radio?
This work is composed by strict twelve-tone technique.
It is so hard for ordinary classical music fans to understand.
I'm imagining an evil Bugs Bunny cartoon where Bugs Bunny just goes around strangling people.
lmao wHat'S uP dOc?!!!!!
shit
yes, of course....by now everyone knows that only crocs are kind species
I grew up listening to my father, while working in the yard on Saturdays and at the same time listening to the Met Opera. He also played lots of conventional classical music. As I got more involved in all aspects of music and he asked me if I thought he would like the record he had just purchased of "The Rite of Spring." It was innocent to me, but he hated it and gave me the record. I brought my first 20th music 33 1/3 RPM and it was Stockhausen and Boulez. I loved it. From then on there was almost no music that I did not love. The Smiths are great. Toscanini is a great conductor. Jazz I love most of it. - Yes. RAP - Amazing poetry, but music not my favorite. I have worked on all of the Mozart piano sonata's over 40 for years. I like it all. What do I like best? Each era has my own favorite, whether it be Bach, Mozart, Schumann, Brahms, Bartok. Shostakovich, Schonberg, or Cage. I do not "get" people who put a boundary around certain things and claim everything else is their "cat running across the keyboard."
Well put Dale.
You're lucky to have a discerning father.
you are a real foodie... so good...
As a pre school kid I refused going to the
kindergarden. I couldn't listen to music there. At home, we had a lot of long plays, Mozart, Beethoven, Schubert, Sibelius, and, a little exotic in those times, Stravinsky's Petrushka. And a lot of jazz, Chicago blues, and Gershwin. Thanks to my parents, I grew up "bilingual", which, looking back after more than 55 years, opened my ears to the modern times, and to the world.
I think Arnold Schönberg String Quartet No. 3 is an easy-to-understand work in Schoenberg's atonal works.
Being mostly a 'rock'-listener I really TRIED liking classical music for years as a young man... bought Mozart and Bach and Beethoven discs, they were quite nice, but it didn't really click for me until I discovered Schoenberg. THAT was my kind of classical music.
which is odd, conidering that Rock music is tonal and has much more in common with your Mozarts and Beethovens
It's tonal, but the use of distortion adds some noise that's, at least to my brain, adds something that is a bit similar to the weird chords in modern classical music.
@@michaelthomsen1797 you should listen to some metal then ;)
@@Bablobiggins I'm a Bob Dylan/Neil Young/Lou Reed kind of guy, I don't really like their approach to lyrics or to singing in metal.
@@michaelthomsen1797 but Meshuggah is a lot closer to Schonberg than Bob Dylan!! Agghhh, I'm just gonna leave you alone.
I don't know why but I am really deeply fascinated with 12-tone compositions.
This is not 12 tone
@@dmitrishostakovich4656 so wait can you direct me/or recommend me the best examples of 12 tone compositions?
@@dmitrishostakovich4656 lol this piece is basically the definition of twelve-tone.
@Lunar Orbit @Dmitri Shostakovich, yes, it is dodecaphonic.
@@dmitrishostakovich4656 HAHAHAHAHA - you're kidding, right?
I love the obnoxiously big intervals lol
No one cares about music theory in regards to well established composers. Also, rules are made to be broken.
2Keyblades no I mean literally, that’s the thing I love about this
I love the courteous large ones and the obnoxious small ones. Matter of preference
I love the cello just sauntering on the sidewalk, fat and unmindful, oblivious to the traffic and hysterical crowd.
I don't know why but almost addict to this .
I think it's the rhythm, for me it is. The ostinato in the first movement, then the offbeat in the second theme of the slow movement, the play with metre in the Intermezzo and in the finale... I know almost nobody of the commentators here would not agree but I do enjoy listening to it.
I did that 40 years ago.
Something happened to me in the last 10 years since I listened to this the first time.
I can hear the links between the motives now. It sounds almost tonal to me. Amazing.
It happens me the same but with a year of difference, it's amazing; it doesn't sound tonal, it rather sounds like every chord could be the tonic but remain dominant relationships among them.
here's my own interpretation after years of listening to atonal music, YMMV:
there is emotion in the music, deliberately obfuscated by no tonal centre. but because rhythm and dynamics are still "conventional" (something that xenakis or stockhausen will tear down), the emotion came through...
Motives have exactly zero to do with whether a piece is tonal or atonal.
@@jaspernatchez clever guy right here
@@jaspernatchez Yes but in atonal polyphonic music I think non-trained listeners find it more difficult to identify any motives.
sounds like my life.
Beautiful?
I don't know whether that's funny, interesting or tragic. I guess that's how I find I feel about this music, though.
Ah, so you're life is also inspired by mozart quartets... Tasteful
Your height is independent of your rhythm?
Yeah right Art reflects life.
Captain Beefheart's Trout Mask Replica made me ready for everything.
lmao me too
Lol
as they say in my county, the human anus is quite elastic and one painful stretching is enough to let the world within!
For me, it was Pink Floyd’s “Piper at the Gates of Dawn”, but I eventually got into Captain Beefheart and others from that era as well.
Still trying to grasp TMR!! Definitely a original masterpiece
I love coming to videos of music by composers such as Schönberg, Webern and Boulez not just to listen to the music, but also to see the endless streams of listeners stating that not only do they dislike this music, but it is actually ‘objectively bad.’ It is simultaneously sad but also very amusing.
I agree, this is sad. A lot of people cannot be conned into liking really crappy music. What a sad state of affairs this is. Have you heard about surströmming? It's amusing that many people not only hate it and call it "rotten fish", but they will also say that it is objectively bad. What a sad world we live in.
Funny I was just thinking what Ornette Coleman was to free jazz in 1960 is what Schoenberg was to classical music, after that it just wasn't the same any more. Again what I find interesting as in the piano concerto is the rythm.
You know what's interesting Ornet Coleman is that some of jazz's greatest players Like Freddy Hubbard sounded square playing in that context. Pianists almost universally sound like well ok now your just superimposing your regular bag onto this Ornet thing. Keith played wrote superlative Harmelodic in the 70s with both his Eropean and American bands. But especially his American band with Dewy Redmond & Charlie Hayden. Listen to Gotta Get Some Sleep and Mushi Mushi from Bop Be. Even though Ornet ain't there it's for sure his bag. But there's a innocence like a big dog that comes through Ornets music to me that really isn't in Serial. Serial music Especially Webern is more greeting cards from an Alien Planet.
This is so beaitiful. The different voices struggling to be heard, then intersecting and melding, and turning off to another path, etc. Excellent.
Are you serious? It sounds like something out of a random music generator
@@viktorgombos4975 no
Thanks for including the score!
very intense, angry piece. Love it.
@Evil Robin your opinion wrong, me opinion right me win
@@95julius02 true 🙏🙏
It sounds so messed up and frantic. Like something is going wrong every second, I love it!!!
On a side note, for some reason, this reminds me of A Mind of Bauhaus Principles from Psychonauts!
Well understood...... here is some more: hilarious Schönberg - unintentional: ruclips.net/video/L2Iuj-t_ZHs/видео.html
Im usually not the biggest fan atonal music but this is really good
Dodecaphonic.
I'm not the world's biggest fan of Schoenberg, though I think I can understand the appeal. That said, I find it disheartening that any sense of respect for other tastes and preferences completely breaks down in this comment section. I've seen the comments "Degenerate music" "Crazy music" "If you listen to bullshit enough times, the brain will begin to imagine patterns that are not there." and "after the first few bars I switched directly to Mozart." There has to be a better way to debate the merits of atonal music than this.
If people did that, there would be nothing in the comment section for me to read while I listen to painfully atonal music for my music theory 4 class!
I've been listening to Schoenberg for so long that this sounds completely normal to me. It's got melodies, I can hear the harmony and the rhythms intensifying and relaxing around climaxes, I can feel where the music is going emotionally the same way I hear any other music. I can't even imagine it being unintelligible noise.
It is a work that is surprisingly easy to understand for those who listen to classical music.
@@machida5114 humm, no
You have been listening to Schoenberg for so long that even your face has started to resemble his.
@@PaulVinonaama 😂😂😂
this reminds me of the first time I heard one of schonbergs classics. It was in the mid summer of 1985 while I was reading one of leo tolstoys classics in my local library after a tough day at oxford university studying law. Brings back memories
This comment has one of the highest ego-to-text ratios I've ever seen. If this is a troll, well done
Thanks for another great score/ recording!
For 20:45, i would say it’s a reference of « Octandre »(E.Varèse-1923), 1st mvmt, bar 20
Thanks for the score !
Wonderfull interpretation. Many thanks!
00:09 - I. Moderato - Forme sonate - Exposition - premier groupe thématique
01:27 : Exposition - second groupe thématique
02:15 : Développement
04:01 : Réexposition - second groupe thématique
05:34 : Réexposition - premier groupe thématique
08:18 - II. Theme and Variations (Adagio) - premier thème
09:11 : Première variation (second thème)
09:54 : Première variation (premier thème)
10:45 Première variation (second thème)
11:28 : Deuxième variation (premier thème)
12:09 : Deuxième variation (second thème)
12:57 : Troisième variation (premier thème)
13:50 : Troisième variation (second thème)
14:49 : Coda
17:05 - III. Intermezzo (Allegro moderato)
23:57 - IV. Rondo (Molto moderato)
Bernstein on Schoenberg 5 posts on this channel. Although Bernstein only wrote tonal music he clearly admired and was deeply fascinated by Schoenberg and Berg.
Also worth pointing out when reading the score, though it doesn't transfer to listening (it should be conveyed - subtly, not shoutingly, by the players) - Schoenberg had some ideas about how to make notation clearer (his pupil Berg used them too sometimes, see the score of the Lyric Suite, eg) - the "H" above a line (with a line extending from it) means "Hauptstimme" (main voice- most important at that time), the "N" means secondary voice. This is all relative- he didn't write or especially care for Rococo (melody-and-accompaniment music) (and was rather unkind to Telemann and Mathison in an essay- this was before their music had been much revived...) , so any notion of main vs. accompaniment, again, a relative thing, but still, he does point them out to be helpful, in this score for example.
This is me when I see some strange insect in my room, and it suddendly desappears.
Would have been interesting for Schonberg to have written for John Coltrane and his quartet !
I personally prefer the modal and classical tonal system to this, but this is still beautiful nonetheless.
20:45 this part resemble the girl of Ipanema
That actually kind of funny how a simple melody like that seems to pop out of a piece that is entirely dodecaphonic, and also during a very intense section
As a person with zero knowledge on music let me say this:
this piece gives me anxiety and I want to know why.
I guess it has to do with two things: one is that there are a lot of short notes, so your mind interprets this fast rhythm with "having to pay attention to something that is closing in". The other is that even if you don't know music theory, if you have listened to the radio in the past 7 decades, most music has an inherent coherence your mind is used to now, and it's not finding it here. If you also like movies, a lot of suspense is transmitted with a similar musical theory used in this piece. So that's something you might be able to relate to this actual experience. My 2 cents. I could be wrong though.
You're used to hearing "tonal" music. Music that uses "do, re, mi." That music has a "home-base," called "Do."
This music is "atonal," which basically means there is no "home-base." Therefore, it feels very unsettled, unresolved, and tense.
it is (especially 3rd movement) atonal, that is it has no tonal base. because it has no tonal base, it can't "resolve." While our minds can grasp the intelligence involved in creating and playing this, most people can't get much out of it without a score to see the structure. It's like a building with no right angles (see LA's Cathedral of Our Lady of the Angels). There is nowhere for the mind to rest or even to know if rest (resolution ) is ever coming - as a result the passages seem interminable. It can feel exhausting to listen to this music. In addition, this piece has quick jerky tempos. The effect for me is not unlike taking a bath in itching powder, when mixed with the atonality. Music "experts" tell us this is a masterpiece (and believe me, I know because i'm married to an Ivy-League doctor of musicology), because they hear and see the structure involved, but the majority of people don't enjoy listening to say an entire concert of this. Sorry, I view it somewhat as "art for art's sake," an academic exercise or science experiment which rejoices in its own genius, but is too difficult for the average Joe or even for many above-average Joe's to much appreciate. People can learn to like this music - I just don't see the point in making the required effort for myself.
It’s not going anywhere or returning anywhere and you feel that. It goes against everything that has sounded “good” to us for thousands of years.
Professor David Huron, an expert on music cognition at Ohio State University, has studied some of the underlying reasons why listeners struggle with such modern classical pieces. [NOTE: listeners still struggle, and a 50 or 60 year-old piece is hardly modern anymore.]
He said: "Much of what the brain does is to anticipate the future. Predicting what happens next has obvious survival value, and brains are remarkably adept at anticipating events.
"We measured the predictability of tone sequences in music by Arnold Schoenberg and Anton Webern and found the successive pitches were less predictable than random tone sequences.
"For listeners, this means that, every time you try to predict what happens next, you fail. The result is an overwhelming feeling of confusion, and the constant failures to anticipate what will happen next means that there is no pleasure from accurate prediction."
シェーンベルクの音楽を聴くと、私の脳がリラックスするのはなぜ？ 音が脳内のいろんなところに張り巡らされて、脳が解放される感じがする。だから音の世界を新たに探訪していく気にさせられる。つまり、十二音技法が心地よいのです。なので、この先の音を探したいと言う気になります。
One of the best compositions of the last century. No doubt about that.
@Bo Do you find it hard that a Jew wrote such a creative and ingenious music?
Sorry to tell you but Wagner music is very primitive and unoriginal compared to Schönberg music. It's much more likely that the most famous classical composers are gentiles since there are much more gentiles than Jews. In addition, most of the famous classical composers lived before the Jewish emancipation. You can't ignore the fact that Jews are the largest ethnic group in science, compared to their percentage in society. Just look at the Nobel price charts. You know what's great about science? It's completely objective, the only thing that matters is truth, this way science is immune to irrational religious propaganda of the Nazis and people like you judging a work based on the creator race. When Einstein published his revolutionary paper on relativity the Nazis didn't accept it, they called it Jewish physics and planned to kill him - one of the greatest minds in history (luckily, he managed to escape Germany before that). Hitler was retarded, he just destroyed his own country and humiliated Germany even more than in WWI. It seems like your parents raised a perfect neo-Nazi, close minded, racist and most importantly a good obedient soldier that can't think critically for himself.
...or maybe just a troll who considers himself funny making such statements in 2018. come on. even troll-like behavior itself has become obsolete by now
@Frank Wernicke I really hope he is just a troll
Michael Novak "Wagner music is very primitive and unoriginal." Oh come on! That's completely ridiculous.
he finally blasted the blocked door open for modern music
00:09 - I Moderato
08:19 - II Adagio (09:11, 09:54)
17:06 - III Intermezo, Alegro moderato (20:45)
23:58 - IV Rondo, Molto moderato
Interestingly given the very careful tempo indications, the recording I have (Aron-Quartet, from a complete set available cheaply on Amazon) differs a bit in timings, one movement fairly substantially. Will have to see if it's because they take sections at a different tempo or for some other reason...
All this discussion of how to build and diffuse tension has missed out on the refinement of time and rhythm which occurred in 20th C. music as tonality and harmonic progression began to be an exhausted element for the most creative composers.
There is no doubt that he was a great composer. Hs technical facility is phenomenal. But there is something disturbing about a human writing music that is just so disturbed...
because its a jwihs spell meant to destroy music
@@Enjoyer5222 bruh what in the actual fuck
What on earth is so "disturbing"? I think the disturbances are all in your head. This is nice, relaxing, traditional orchestrated music, nothing very odd or revolutionary about it. Merzbow, that's okay to call "disturbed" because he is an overt sadomasochist. But Schoenberg? Rather tame compared to today's experimental art music.
It's a musical language that has to be learned by listening. As a radical departure from traditional harmony, it is certainly disturbing at first, and that is part of its aesthetic. But eventually, you get comfortable with the language and hear it differently.
The times in which he lived were disturbing. He wrote music of the times in which he lived.
I'll never understand why anyone thinks Schoenberg is "disturbing" or "disquieting". If you want disturbance, check out Merzbow, Metalux, or other noise artists. Xenakis sometimes can be jolting. But Schoenberg? Come on, man! I find his music very relaxing and soothing, hits all the right spots. I'm gathering a collection of CDs of Schoenberg's compositions. Very rewarding and inspiring for my electronic music and abstract soundscapes.
Schoenberg can be disturbing, but not in this case.
@@newaccounter I have yet to hear anything by Schoenberg that is "disturbing". The only thing disturbed is expectations conditioned by concert going and Western civilization "music theory". Peace!
Mark of a truly disturbed man
Johnny, I can name that tune in twelve notes!
The hostility in some of these comments is baffling. This piece really isn't that different from Classical/Romantic era string quartets other than the atonality.
The atonality is what I would assume most people are taking issue with. As a technical piece, it's very well made, but very few people would consider this an enjoyable piece to listen to during their leisure time.
I would.
@@dalereynolds8716 Likewise. In particular it's not all -that- far from Reger's Op.74 quartet or Op.77 string trio (or some other works in that orbit- and there's no coincidence there, Schoenberg wrote a fair amount about Reger.)
I find above all that the expression, atonal music, is most unfortunate - it is on a par with calling flying the art of not falling, or swimming the art of not drowning.
Arnold Schoenberg
"This veggie burger isn't really that different from a real hamburger, except for all the tofu."
Did Schonberg compose this music creatively or mathematicaly?
Both :)
Those things are not mutually exclusive. Logic is a part of creativity
Aren't those the same thing? J.S. Bach said that intuition is only useful for the melodic base - the rest is conscious calculus.
Actually there is little mathematics here.
I think he had a pet spider with dirty feet that walked over the manuscript.
The secret sauce is the head-motif being the harmonic -minor scale (Forte # 7-32) and its compliment Elektra Chord (Forte # 5-32) to fill-out the series. The mode of harmonic -minor scale #7-32 is in its 6th diatonic scale-displacement a.k.a Super-Locrian ♭♭7.
I have sung choral works by Schoenberg and his music sounds tonal to me.
Reminds me of Beethoven's Grosse Fuge written a hundred years earlier.
The Grosse Fugue has been one of my favourite quartets for decades, so I can see where you get that. However, the Grosse Fugue is incredibly structured and thought out despite initially seeming to be random like this one.
@@billguyan9626 hmmmm? Could it be? Could this also ONLY seem random? Just like Grosse Fugue seemed random at first? No. Definitely not. This is nonsense, obviously.
Beethoven's Grosse Fuge is contemporary music.
It is a work that is surprisingly easy to understand for those who listen to classical music.
For my ears, it's like contemporary painting for my eyes : anything.
What is that mark in the viola part at the end of measure #25? I think it marks the end of one phrase and the beginning of the next one, but that's a guess.
Thanks!
'Hauptstimme', and also 'Nebenstimme' sometimes when there's a N. See here: en.wikipedia.org/wiki/Hauptstimme
memorizing this would be like memorizing pi
Not really. Especially considering it follows a structured order that's straightforward to derive.
If you listen to it repeatedly, you will remember it quickly.
It's almost been a 100 years, and people are still mad... I guess this is why they say Shönberg is the best composer
1st violin plays wrong note in bar 70.
When pitches don't form aurally meaningful patterns, does it really matter?
Perhaps not, but I don't think your comment pertains to the present music. In m. 70, the violinist plays both Ab2 and Ab3, but the pattern would be more meaningful if the latter were Bb3 as written. Of course, the piece will not stand or fall depending on this one note.
"the pattern would be more meaningful if the latter were Bb3 as written." But would it be more AURALLY meaningful?
jaspernatchez Yeah!
Don't you feel that you demean yourself when you lie to try to win a debate?
I didnt know such a way of composing existed. I stumbled upon this cuz my subject required me to listen to it. I'm feeling rather depressed listening to this.
I hear the fast rhythmic accompaniments much more than the Hauptstimme melodies (especially when the melody is in the 'cello). Is that the performance, the music itself, or just my ear?
I listened to it again when your comment appeared. I now find that I very strongly hear the treble Hauptstimme, but not the bass. I've noticed that recently in lots of different kinds of music (including live, so it's not my sound system). It looks like I might be losing my hearing from the bottom up. :^(
This would be great accompanying music to the internal dialogue of the narcissistic rage of a malignant narcissist. Such a construct of the world would be totally distorted in the “normal” sense, where cold-blooded rage is directed towards anything that assaults the narcissist’s fragile self-image, where the narcissist claims victimhood and injury.
Amazing, what a genius
I.00:09+
04:49`
06:00.
II. Tema 08:18
Variación 1. 09:11
Variación 2. 09:54
Variación 3. 10:44
Variación 4. 11:27
Variación 5. 12:56.
Variación 6. 13:50
Variación 7. 14:50
Final: 15:54
III. 19:34`
21:40&
selon moi la forme du quatuor domine de très loin l oeuvre sérielle de schoenberg qui se dit attiré par mozart dont les mânes tressaillent aux coins et aux recoins de cette partition mystérieuse , schoenberg n a pas été encore entièrement découvert ,,
this is what hipsters loved in that era
Amazing quartet. I lose my sense of time whenever I listen to it.
this is the kind of music you do expressionistic dances to
For those who like this piece, what kind of emotion it represents? Is the range of emotions in atonal music restricted somehow?
Because i still dont really get it.
I agree that the emotion is not obvious. I think the composer views emotion in a similar way that program music was viewed, that is, as something secondary to the development of a musical idea and the process of creating. I read a little of Thomas Mann's Doctor Faustus, which he researched for by learning about Schoenberg, and the composer in that book says something about emotion being so readily evoked by music that it needs to be tempered, I guess by strictly following a development of notes (through some creative process), and that to specifically try to develop a feeling with music is superfluous. So we are expected to listen closely and identify musical ideas and listen to what they do, because I guess that's what this music has a wealth of. I believe even if you're not trained in music you can still do this. I say definitely don't try to take away emotion from this kind of music because that's not what it is offering as its primary gift.
mozart a influencé schoenberg fasciné par le génie du maître de salzbourg , l'art du quatuor est une forme de création exogène , si différente des autres formes de création qu'il devient impossible ou erroné de l'assimiler aux formes de musique de chambre classique comme l'opéra se distingue des chants religieux ou même des lieders ce qui peux expliquer que des génies comme JS bach schubert brahms ne composèrent pas d'opéras contrairement à un mozart qui disait dans l'une de ses correspondances ,, AVANT TOUT ETAIT L OPERA ?? on peut se demander ce que cachait la pensée de mozart lorsu'il évoquait les formes complexes qu'étaient l'opéra et le quatuors sur lesquels on connait les difficultés que rencontrait le maître lorsqu'il s 'attaquait à la forme quatuor et mozart qui dédia ces six quatuors qu'il appela ironiquement ses enfants tant il rencontra de problème pour venir à bout des formes musicales du quatuor ,,ce sujet mériterait thèses et conférences et les musicologues devraient commencer à s'atteler à une tâche colossale ,, pour ne pas dire impossible mais qui sait
It is a 12-tone work before coming to the United States.
It is carefully composed so as not to give a sense of tonality.
In measure 15 of the second movement, the 64th rest in the viola part should be a 32nd rest. 9:32
Sorry, couldn't resist.
Doesn’t 20:45 sound like Shostakovich string quartet no 8?
It describes the madness of war in a subtile way
Any progressive Rock fans out there?
Same here.
Check out henry cow if this floats your boat.
How come you ask?
Psychedelic rock, but I like some early progressive rock, too.
Progressive Rock was not influenced by this shit.
Patrick Silva Avant-Prog is.
It is classical in form. It could be fun to re-harmonize it. Leave the rhythm and change the pitches.
Did Arnold ever use a major chord in his music?
+PointyTailofSatan Look up his earlier works, you'll be surprised!
Sticking true to his genre and style, probably not.
in Pierrot's ending
Last chord of the Piano Concerto, op. 42.
Gurrelieder is completely tonal and beautiful.
Witzig, like 😆❤️
Totally surprenant braveau
thx
First movement makes me think of Moosbrugger from the man without qualities
I'm here thanks to Adorno.
Adorno praised the atonal expressionist works, but did not comment on the twelve-tone works.
rare piece
☆☆☆☆☆☆☆☆☆☆☆☆
20:52; 28:05
RON JARZOMBEK/MESHUGGAH/LOW KEY BASS DEMON
Is this kind of music still trying to evoke some kinds of emotions, or is it more of an intellectual thing that demands more active listening?
Both
Girl from Ipanema
Boris Karl off s Thriller
Cadê o funkão?
Bach rewritten for the twentieth century...
Nope
@@billguyan9626. YEP!!!!
@@jacobbass6437 It's an insult to Bach.
@@maliziosoeperverso1697 Schonberg isn't God.
@@maliziosoeperverso1697 That's not possible.
Jazz people - Crawl back into your hole.
Elitists - Shut up
@@segmentsAndCurves Jazz people have a chip on both shoulders. They are the one's who need to shut their mouths. YOUR opinion is too HUMBLE to matter to anyone who is a real musician.
This is a bit too modern and radical for me. It just sounds quite mediocre and random. I could understand and appreciate some of Bartok's and stravinsky's works. I'm still trying to like Schonberg.
Remember, this is experimental music.
You can listen to some more "mature music", with the tonal and atonal components.
It is a work that is surprisingly easy to understand for those who listen to classical music. Please listen repeatedly.
Why on earth do people like Mozart more than this?
I agree with Nathaniel!! The more I am forced to listen to Mozart the less I like most of his music , This is interesting stuff,
Yeah, I'm not trying to be a snob but Mozart is kind of Vanilla and this is like th.at Chocolate with chilli peppers flavour
My feelings yes , Mozart was writting popular music when it came down to it , A lot of his music is divine but a LOT of it was crowd pleasers , if you know what I mean ,
For the same reason people tend not to like food that has excrement mixed into it. But hey, really rich people love coffee that's been pooped out of a civet's ass, so, kind of the same thing at work here.
You are narrow-minded to compare Mozart and Schoenberg in this way, and in the end, your claim comes down to an assertion of your own opinion.
I could say for certain that all music created after Mozart is better than Mozart. Do I still love Mozart? Even though all the music after is, by some mysterious and undefined "objectivity," much greater and more impressive, I return to Mozart occasionally for his perfection in the cells which he created by. I could say this: "If Brahms is so much better, if Beethoven is so much better, if Debussy is so much better, so much more *advanced*, then why do I return to Mozart?" And yet we do.
To prove that you are wrong in your way of thinking, consider the following - separate both Schoenberg and Mozart from their eras and styles. Now, separate them from their tonalities, harmonies, melodies, musical notes, whatever. Preserve those elements of music that serial composers focused on - rhythm, motivic threads, intervals, energies, patterns, forms, structures.
Looking at in this way, we can see that where Schoenberg is interesting and new, Mozart is perfect. Each cell, each pattern, each strain, fits among each other beautifully. In Schoenberg, they are never perfect (and I believe Schoenberg himself would agree); they are fresh, purposefully obtuse and designed to vex and impress in other ways.
Now drag them back together. Schoenberg is the same; yet Mozart has become more beautiful. There are now relationships between chordal sounds that are known by moods, and not just by intervals, as in Schoenberg. There is an peaceful serenity absent in most of the designed chaos of Schoenberg. There is an otherworldly feeling, a feeling of ascension and heavenly grace; in Schoenberg, there is mostly a bleak humanity, a strong individual expression, and an underlying current of destruction of the old and traditional. Schoenberg and the 2nd Viennese School said it themselves, when they claimed that it was no longer possible to understand music in the same way it had always been, that they had to shatter old traditions.
The truth is, you probably know why people return to Mozart. You just want to feel superior. That is pathetic. You feel superior and smart because you like this music, and you believe that you are special for it. You have to put down those who like Mozart. You have to dismiss Mozart and his music, and suggest all those who like Mozart more than Schoenberg are just idiots incapable of understanding Schoenberg.
At that point, I can only say you are lying to yourself. You can like Schoenberg more than Mozart. That is respectable. But you cannot attack those who like Mozart more, or I could only call you an insecure bully.
Girl from Ipanema? Hahaha. Probably not.
+Baby Jones That's actually the answer! :) What sheet music upload would you like to see?
+olla-vogala No way! You've made my day.
I would love to see a video that follows the solo line of Dutilleux's violin or cello concerto, but that might be a lot of work. You don't have to do it if it proves too hard to procure the score, etc. Instead you could try Duruflé's Requiem (organ/choir version)?
It's your channel! I'm just grateful you're uploading so much! Thanks :)
Baby Jones
The Duruflé I can do, but I don't have Dutilleux' violin concerto score, or cello concerto (tout un monde lointain, I guess you meant). Do you have one of these?
+olla-vogala Unfortunately no, I don't have access to them :( but that's no trouble at all! Duruflé would be wonderful. Thanks again!
Baby Jones
Ok - stay tuned ;)
Keine gute Interpretation. Die Melodiestimmen singen zu wenig, sind zu wenig gestisch. Eine typische Interpretation aus Zeiten, als man meinte, Schönbergs Musik wäre nur Mathematik. So spielt man das heute nicht mehr - zum Glück.
I came here because of MAPEH
Btw saan na kayo grade 10 studs. HAHAHAH
I just read the comments on this piece. My god, why are classical musicians/classical music fans some of the most pretentious, gaudy and annoying snobs on the planet?
They think they're intellectuals because they can read music and don't listen to pop or trap. That is quite literally it. God complexes all around.
For them it seems to be less about enjoying music and letting everyone know how much they enjoy it.
Jazz player?
Vernichtungslager Musik
Why do you need a composer for this? I could easily write program that generates music that sounds terrible. This literally sounds like randomly generating notes after each other lmao
You can leave with your program now.
@@segmentsAndCurves 🤓
@@mhdfrb9971 "🤓" - 🤓
@@segmentsAndCurves 🤓
@@mhdfrb9971 🤓
Even atonal music sounds tonal at this point...fuck this shit.
What an arrogant quote at the beginning.
How
Gross
Total boring music. Compare with the string quartets of Hindemith. The last one is winning
Uh, no.
Such annoying music! YUCK!
Why is that?
Aside from the meaningless, ugly harmony and histrionically jumpy "melody", both typical for this faker, most annoying are the 8th note figures that repeat ad nauseam for some reason. I guess he was hoping he'd be mistaken for Beethoven.
i can understand you. first i thought the same but now i think its very interesting
Yeah, I can't really understand the appeal of atonal music, harmony and tonality exist for a reason. Without structure music ceases to be music and becomes a collection of noises.
"but now i think its very interesting" Actually, you've just gotten used to meaningless sounds. If you listen to bullshit enough times, the brain will begin to imagine patterns that are not there. Anticipation is caused by habit, not by the music itself.
Theodor Adorno hated Jazz, and saw it as a product of the culture industry and late capitalism. But he loved Schonberg. I don't get it... You could program a computer to randomly generate music like this. Jazz takes the rules of common practice and bends them them to create harmonious modulation and circular movement. Jazz is much more sophisticated than this in my opinion.
You can program a computer to write any type of music, full stop. It has been done time and time again, and they are indistinguishable from those written by humans. To pretend this is any less deliberate and thoughtful than jazz is ignorance
Theodor wasn't wrong at all about Jazz.
What about Albert Ayler and Ornette Coleman?
@Lunar Orbit Doubt it.
@@askewpropane5633 wrong
Crazy music. And the reference to Mozart in the quote is just embarrassing.
I've heard their tonal music, and I would not call them "tonal masters" by any stretch of the imagination.
Actually, this quote accompanies all 5 quartets, so it’s not clear when it’s from, even though I disagree less than you do.