Composed between 1914-15, when Berg was 30 years old, and revised in 1929. (Berg died in 1935.) This work was born during the first World War, and displays a frightening level of unrelenting intensity. I often think that this is what Mahler's music might have been like had he experienced and lived thru WW1. Powerful nervous gestures are piled upon gesture, and the result is extreme, maximum Sturm und Drang. In many respects, Berg was more avant garde in his orchestrations than either Webern or Schoenberg. So listen carefully, with earphones if you can. And watch this truly amazing performance, especially the percussion and brass.
I agree and this performance really gets this extraordinary piece right. It is indeed carrying on from Mahler but without, for me at least, the schmaltz and self-pity and, especially given the time of its composition, the hope of redemption.
It is a great performance. Particularly the sensitivity to timing. Tempo is not the right term for Berg (though it plays a part). This is painting on canvas (all such expression was happening at the time) and about tonal movement throughout key structures. Very close to dance structure.
the world is full of problems, but sometimes you just have to think of some of the amazing perfect achievements like this performance, the musicians , the composer, the fact that we can film it, and just to listen.
Berg is said to have declared: "There had to come a day when we could hear how a chord of eight tones really sounds in the brasses!" 16:19 , 18:14 , 19:32 , 21:25
@Casey Fan -- Really? And I, the Rindfleischetikettierungsüberwachungsaufgabenübertragungsgesetz of the Wagnerian Kunststofftechnik Master, Johänn Gambölputty von Außfern-Schplenden-Schlitter-Crasscrënbön-Fried-Digger-Dingle-Dangle-Donglë-Dungle-Burßtein-von-Knacker-Thraßher-äpple-Banger-Horöwitz-Ebenmäißgkeitsentzückung-Ticolënsic-Grander-Knötty-ßpelltinkle-Grandlich-Grümblemeyer-ßpelterwässer-Kurstlich-ähimbleeisen-Bahnwagen-Gütenabënd-Bitte-ein-Nürnburger-Brätwustle-Gerspürten-mitz-Weimache-Luber-Hundsfut-Gumbëraber-Shönedanker-Kälbßfleisch-Mittlër-Aucher von Hautköpft von Ulm.
@@cdtj1265 -- Well, I'm a little better now, thanks for asking. But I'll tellya, last week was rough...a botched lobotomy right after a drive-by colonoscopy. But my surgeon said (in Urdu) that there's nothing wrong with me that a little Prozac and a polo-mallet won't cure. Enough about me already....How are you handling that Rash?
@Steven Moore -- Actually, Clëësë appreciates that I herald the unknown, unsung master. As for the Mallets, I've been worked over by Pros...so your percussion section won't cut it. Are you back in Monte-Carlo or still skiing in Vaduz? Regards from San Agustinillo, Oaxaca !
Spannende Aufführung dieses perfekt komponierten Meisterwerks mit ein bisschen bedrohlichen doch farbenreichen Tönen aller Instrumente. Der dritte Satz klingt besonders bedrohlich und echt spannend. Der geniale Dirigent leitet das ausgezeichnete Orchester im veränderlichen Tempo und mit völlig effektiver Dynamik. Einfach atemberaubend!
Composed between 1914-15, when Berg was 30 years old, and revised in 1929. (Berg died in 1935.) This work was born during the first World War, and displays a frightening level of unrelenting intensity. I often think that this is what Mahler's music might have been like had he experienced and lived thru WW1. Powerful nervous gestures are piled upon gesture, and the result is extreme, maximum Sturm und Drang. In many respects, Berg was more avant garde in his orchestrations than either Webern or Schoenberg. So listen carefully, with earphones if you can. And watch this truly amazing performance, especially the percussion and brass.
I agree and this performance really gets this extraordinary piece right. It is indeed carrying on from Mahler but without, for me at least, the schmaltz and self-pity and, especially given the time of its composition, the hope of redemption.
It is a great performance. Particularly the sensitivity to timing. Tempo is not the right term for Berg (though it plays a part). This is painting on canvas (all such expression was happening at the time) and about tonal movement throughout key structures. Very close to dance structure.
I think at some point mahler invisioned the century in his unfinished symphony.
gracias por la descripción me sirvió para escuchar mejor
Do you consider this pantonal or highly dissonant?
the world is full of problems, but sometimes you just have to think of some of the amazing perfect achievements like this performance, the musicians , the composer, the fact that we can film it, and just to listen.
Berg is said to have declared: "There had to come a day when we could hear how a chord of eight tones really sounds in the brasses!" 16:19 , 18:14 , 19:32 , 21:25
And what a glorious moments!
Great piece, great performance and a particularly excellent 1st trombone.
Berg manages to fill avant-garde sounds with emotion like no other composer of his time.
Actually this is not so. His teacher Schoenberg is as emotional as Berg.
Webern…
Together with Schoenbergs Erwartung this is the most fantastic work of the second Viennese School!!!
Yes, and the Berg Violin Concerto!
Of course! Agree!
Marvelous performance!!!! Bravos all round !!!
Чудесная авангардная музыка!
Большое спасибо Франкфуртскому оркестру!
First time hearing this piece and what a delight to hear it so wonderfully performed. You really hear the spirit of Mahler in these works!
@Casey Fan -- Really? And I, the Rindfleischetikettierungsüberwachungsaufgabenübertragungsgesetz of the Wagnerian Kunststofftechnik Master, Johänn Gambölputty von Außfern-Schplenden-Schlitter-Crasscrënbön-Fried-Digger-Dingle-Dangle-Donglë-Dungle-Burßtein-von-Knacker-Thraßher-äpple-Banger-Horöwitz-Ebenmäißgkeitsentzückung-Ticolënsic-Grander-Knötty-ßpelltinkle-Grandlich-Grümblemeyer-ßpelterwässer-Kurstlich-ähimbleeisen-Bahnwagen-Gütenabënd-Bitte-ein-Nürnburger-Brätwustle-Gerspürten-mitz-Weimache-Luber-Hundsfut-Gumbëraber-Shönedanker-Kälbßfleisch-Mittlër-Aucher von Hautköpft von Ulm.
@@steveegallo3384 Are you okay?
@@cdtj1265 -- Well, I'm a little better now, thanks for asking. But I'll tellya, last week was rough...a botched lobotomy right after a drive-by colonoscopy. But my surgeon said (in Urdu) that there's nothing wrong with me that a little Prozac and a polo-mallet won't cure. Enough about me already....How are you handling that Rash?
@Steven Moore -- Actually, Clëësë appreciates that I herald the unknown, unsung master. As for the Mallets, I've been worked over by Pros...so your percussion section won't cut it. Are you back in Monte-Carlo or still skiing in Vaduz? Regards from San Agustinillo, Oaxaca !
Amazing piece, great perfomance
By far the finest performance on youtube, fully in the Karajan mindset.
Karajan? 🤢🤮 It needs a Furtwängler mindset and touch.
(00:41) 01 Praeludium
(05:48) 02 Reigen
(11:46) 03 Marsch
I think, Hindemith adored this piece
Beautiful 🎵🎵
Great piece!
wonderful
ベルクの作曲の弟子で哲学者アドルノは、この楽譜を見て「マーラーとシェーンベルクのオーケストラ曲を同時に鳴らしたような響きになる」と師匠に話した
ベルクは満足そうだった
Spannende Aufführung dieses perfekt komponierten Meisterwerks mit ein bisschen bedrohlichen doch farbenreichen Tönen aller Instrumente. Der dritte Satz klingt besonders bedrohlich und echt spannend. Der geniale Dirigent leitet das ausgezeichnete Orchester im veränderlichen Tempo und mit völlig effektiver Dynamik. Einfach atemberaubend!
Meisterwerk des Irrsinns....
@@HerbertWeidner Wenn man keine Ahnung hat, einfach mal still sein.
Buenísima versión.
5:20 those first violinists glance when someone makes two strike of sound other than the low tam-tam
Trombone top moments😮 1:30 13:26
Playing Berg must be like working a saturday night shift at a restaurant. 🥵
And listening - too
Fine performance!
However if you'd like something special - find Bruno Maderna and NDR SO recording of thies pieces.
Totally!
This piece is very difficult for the trombone
7:35
小品と言うタイトルなのに楽器編成がデカい！
ベルクは大編成のオーケストラ曲を少ししか作曲しなかった
これと「初期の７つの歌」は大編成のオーケストラ曲
大編成のオーケストラ曲は演奏会で予算が高くなる
17:03
Totally Mahler🙄
@doinkdoink49 the orchestration.
Mahler was the living god for the Schönberg Kreis this time. Berg said that his op.6 sounds like Mahler cross over with Schönberg....
And this is fine!
@doinkdoink49 In addition to the orchestration, there's a near-direct quote from Mahler 6 (1st mvt.) at 17:14.
Wer hört sich sowas freiwillig an....irre
Jeder der Mahler verstanden und weiter gedacht hat.
Вовремя воздушной тревоги - успокаивает нервы.
Pfffff... Super boring...
C'est toi qui est boring le cassos