Arnold Schönberg - String Quartet No. 1 in D minor, Op. 7
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- Опубликовано: 1 дек 2015
- - Composer: Arnold Schönberg {Schoenberg after 1934} (13 September 1874 -- 13 July 1951)
- Performers: Kohon Quartet
- Year of recording: 1967
String Quartet No. 1 in D minor Op. 7, written between 1904-1905.
This quartet consists of one movement, and was Schönbergs first assured masterpiece as it was the real beginning of his reputation as a composer. The quartet is remarkable for its density and intensity of orchestration with only four instruments. Unlike his later works, this work is tonal, bearing the key of D minor, though it stretches this to its limit with the thoroughly extended tonality of late Romantic music, such as moments of quartal harmony. It also carries a small collection of themes which appear again and again in many different guises. Besides his extension of tonality and tight motivic structure, Schönberg makes use of another innovation, which he called "musical prose." Instead of balanced phrase structures typical of string quartet writing up to that period, he favored asymmetrical phrases that build themselves into larger cohesive groups called "sentences."
According to Schönberg, when he showed the score to Gustav Mahler, the composer exclaimed: "I have conducted the most difficult scores of Wagner; I have written complicated music myself in scores of up to thirty staves and more; yet here is a score of not more than four staves, and I am unable to read them."
The first performance was given in Vienna on 5 February 1907 by the Rosé Quartet after extensive rehearsal. 
Видеоклипы
"I have conducted the most difficult scores of Wagner; I have written complicated music myself in scores of up to thirty staves and more; yet here is a score of not more than four staves, and I am unable to read them." Gustav Mahler
Very interesting, what is your source on this quote?
@@EmreNurbeyler The description below the vid.
Iotw: the emerging break with tonality was too much for Mahler to absorb?
@@stueystuey1962 I don't think so; if Mahler hated something, he was not afraid to say so. He was probably fascinated, and stretched tonality a bit himself in his 9th and 10th symphonies, though not as much as this!
There are passages in Mahler's Ninth that I think were influenced by the rather wild polyphonic writing in AS' Opus 7.
5:25 is just absolutely stunning, and the principal theme from the beginning is just so incredible. With this piece, Gurrelieder and the chamber symphony it makes it quite clear just how masterful a tonal composer he was alongside his great ‘atonal’ output
The chamber symphony is borderline atonal.
@@stueystuey1962 no it isn't??? wdym? both his first and second chamber symphonies are tonal.
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free.
Romans 3:23
John 3:16❤❤😊
olla-vogala, thank you so much for uploading all these great works with the scores! You, Sir, are truly a youtube legend.
I'm honoured, thank you :)
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free.
Romans 3:23
John 3:16❤❤❤😊
Wow. The last ten minutes are overwhelming (in a beautiful way). Schoenberg's ability to stretch tonality to new limits is mind-boggling.
Before, well, giving up stretching 2 opus later
Great performance, the score is a real bonus. Thank you so much!
You can hear in this quartet that Schoenberg was gathering himself for the leap into hyperspace, i e the formalisation of his daring and joyous stretching of the tonality of what is somewhat nominally a D minor piece.
"joyous"????!!!What????
@@newardthelman6871 I suppose in the "last movement"?
But yeah, no, pretty much none of the first 30 minutes of this is "joyous" lol
This is my favourite piece by Schoenberg. His later works, while I'm trying to understand them, I cannot get for a moment. This piece... Not that I do understand it, but it makes me feel the right emotions at the right time, rather than just confusion and feeling lost. And so many parts of it do make sense to me that I can honestly say that I love this piece.
klop422 don't give up. I love Schoenberg, everything, but I still struggle with Pierrot Lunaire
I've gotten better. I enjoyed his two concerti. His early 12-tone works feel a little odd, but still. It's all pretty good stuff.
I've had the exact same path. I've tried (and failed) for years to find a 12 tone piece that doesn't sound like boring monotonous nonsense to me. This quartet conviced me of Schoenberg's genius (even if I'm an idiot when it comes to music theory) and a few days later his violin concerto became the first atonal piece I've liked and his piano concerto became the second a year later. And now I really like his piano suite, espacially the musette and gavotte. (sorry for my weird english)
Take everyone's suggestion and keep listening, the later works will open up for you at some point.
@@sebastiendetry1093 I find Berg's 12-tone music more accessible.
Great, just amazing. And a beautiful rendition
Das ist ein fantastisch Partitur für mich ! Ich höre immer mehr den neuen Tonnen !
la nouveauté des quatuors de schoenberg perpétuent malgré la composition mozartienne et beethovenienne que l'on perçoit à travers ce merveilleux quatuor ,la première et la seconde école de vienne se rejoignent ,,merci
Pas du tout et ça n'a rien à voir. Pour très lourdement schématiser, ce quatuor fait surtout penser à du Brahms croisé avec Wagner lol (comme pour "La Nuit transfigurée", par exemple). Brahms et Wagner étaient les deux compositeurs préférés de Schoenberg. Disons que, au départ, l'œuvre de Schoenberg "réconcilie" en quelque sorte les deux courants opposés du Romantisme tardif.
I am listening to this on 13 February, trying to imagine.....what would I have felt in 1907, hearing this quartet for the first time?. Something like, "Wagner's TRISTAN on steroids", assuming they had steroids back then. I can understand why many in Vienna would feel Schoenberg was going down a road not easy to follow. It wouldn't take long for many to decide not to bother.
It's hard going for many people even today, so imagine in 1907.
That is a very good thought. I follow your view. To my understanding Shoenberg's music (innovation) is the echoing of the industrial boom of the time. The industry of the 12 tones at the same time. That was the beginning of the contemporay age. Am I right?
why on 13th of February??
Harry Andruschak , Feb 13 is my Birth date, what a coincidence.
Vidalsky Ociosen Really? Mine too.
Good to know that at least one masterpiece was premiered on our birthday.
That's the way that music talks to our spirit. There's no letter, but we can feel what is happening.
From 38:30 onwards it's a freaking try not to cry challenge wtf its so beautiful and sweet
For the independance of the voices and the development of motivs I would say he was more influenced by Bach than Mozart, but I can't know that much. It's no wonder why Schönberg would, after acquiring such mastery over poliphony, decide to create a new path for music, whether it was for the better or for the worse it's a totally different question
In terms of form, the piece was largely modeled on the first movement of Beethoven's Eroica symphony, as Schoenberg said himself.
Brahms all the way.
@azequielstepanenko3229
There is very dense counterpoint in Mozart.
It is a pity the dynamic of the score are not more closely followed. The score has many pp markings but nothing here is below mf.
Agreed. Not much dynamic variety here. They just plow through everything.
i do agree that the dynamic variation is pretty bland, BUT you can't deny the virtuosity of the playing though!
Melvyn Elphee this kinda of “pure” music in a sense is viable even without the variations of dynamics or timbre if you will, it surely is reminiscent of the Renaissance or baroque period where you can play the same piece of music with infinite amount of combinations of instrument, like I’ve heard recording of a Bach fugue by a jazz scat quartet, saxophone quartet even orchestral arrangements. My point being I don’t think Schoenberg himself would’ve minded his music being played like this. But you are not wrong nevertheless.
@@null3707 What?
A truly complex and incredible work. I hear small fragments of composition inspired by the great German composers of the past: Beethoven's "Grosse Fuge", Bach's incredible multi-part writing, and even a very Mozart-like melody in the Third Movement, as well as a few examples of (no matter he might have wanted to deny it) Debussy influence with some whole-tone passages as well as movement in octaves and harmonies based on fourths. His use of tremolo is simultaneously unsettling and ethereal, crafting a mystery and desire to explore further into his soundworld. Perhaps the first classical masterpiece of the 20th century? Along with Ives's "Unanswered Question" and "Central Park In the Dark", no doubt.
Magnifique !
Masterpiece!
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free.
Romans 3:23
John 3:16❤😊
@@christianweatherbroadcasting??????
I'm waiting for the day my ears are sensitive enough to fully appreciate this ..
Oddly enough, trying to listen so something much more complicated really helped me. If you can find a performance of Sorabji's Opus Clavicembalisticum (or other longer works), and really listen to it, to the point you can just about get little bits of it (maybe to the extent you understand this piece right now) then this piece gets a lot clearer when you get back to it.
@@klop4228 ok , thanks for the advice !
Klop is correct on the approach. The idea is to allow your brain to recognize the patterns. You can't appreciate the music right now probably because you've never seriously listened to something like this, so your brain just doesn't know where to begin to analyze or where to find patterns. Listening to more "complicated" works helps to put things into perspective.
Try to seriously listen to Schoenberg's twelve-tone works like his String Trio or his Piano Suite and then other Serialist works by Boulez, Stockhausen, and Babbitt. Listen to other atonal works by the likes of Messiaen, Ligeti, and Penderecki for good measure. If you seriously try to listen to works by those composers, pieces like this one will sound like Mozart in comparison.
@@Eorzat how much theory do I need to know to enjoy 12 tone music , though ?
I know the basic premise of the system (tone row , no note gets repeated etc ..) , but that's about it .
same with the freely atonal pieces , do I need to be prepared before I listen ?
@@authenticbaguette6673 You probably need to know quite a bit of theory in all honesty. It's a bit similar to listening to fugues. You can learn how to listen without knowing the intellectual stuff, but there's a certain amount of beauty added once you know how the tone rows are handled and such.
That being said, I didn't really suggest that you listen to serialist pieces to learn how to appreciate them. It's just that once you listen to those kinds of pieces, highly chromatic pieces start to make more sense.
Bellissimo
Well. Indeed, a beautiful piece of early Schöenberg. Really tonal, for what Schöenberg was. Excellent piece, thanks for sharing.
Thank you, Julio Cortázar! It's culture, too much culture!!!
10:10 favorite part
Willem Pijper, favoriete componist ;)
THANK YOU!!!....THANK YOU!!!....THANK YOU!!!!.....
Marvelous for his rythm and intensity.👏👏👏
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free.
Romans 3:23
John 3:16❤😊❤
@@christianweatherbroadcasting?
I'd always found this to be such a wonderful quartet, it being the first, and that firsts of most anything seem to be the best, which now brings to mind...Shostakovich's First String Quartet...THANK YOU!!....
Glenn Gould also said that once in an interview (but without referring to Schoenberg's 1st string quartet nor to Shostakovich I think). He gave as example Berg's piano sonata op. 1. There is a string quartet no 0 by Schoenberg though.
Shostakovich's latest quartets are his most beautiful ones. In my humble opinion his first quartet is one of his less inspired work (like his latest symphonies). Personally I still don't get serialism though, so I can't say the same about Schoenberg's last works, but this is marvelous.
Doesn't apply to Beethoven's quartets or symphonies, imo.
Shostakovich doesn't hit his stride until he obtains freedom from the dilletantism of Stalin with his death.
The quartet op.7 of Schoenberg is a pinnacle in the history of music, not only the most ambitious and utterly cohesive work for the medium produced after Beethoven, but also a formal tour de force of expansive phrase generation, unsurpassed anywhere, as far as I can tell. Nor did Schoenberg reach this level in Gurrelieder or his Chamber Symphony, great as those works are. Is there a finer quartet (Schoenberg's subsequent ones included, and Bartok's amazing cycle) that has been produced?
So, this is only a personal view, but after 5 decades of familiarity I find that I respect and admire a great many string quartets, but remain in awe of this work as being a supreme achievement that is still unmatched since its appearance in 1905.
I think Beethoven's late string quartets are some of the greatest ever, especially the 14th, but among quartets written in the 20th century, this one is certainly one of, if not the greatest. It is a profound synthesis of Brahmsian motivic development, Wagnerian chromaticism, and Bachian counterpoint. It is my personal favorite too.
An alarm bell goes off in my head when I see someone proclaim anything as the "best", but this is 100% a contender for best quartet since 1900, if not since Beethoven.
I'm sure Mozart and Schubert have produced finer Quartets. I say this as someone whose favorite composer is Schoenberg.
Many times the score videos are not the best versions. However this version does feature good separation of instruments so you can hear the harmony. Emphasis shouldn't be made on what is lacking here because it is obvious to anyone above intermediate level. My recommended recording is the Mendelssohn String Quartet version (CD Musicmasters - MMD 60181A), was my first exposure to this genius work --- if you disagree it is genius please recommend some listening resources.
In my bones I hear Brahms. Always Brahms. Effortlessly, joyously Brahms.
Ain't that the truth? When I listen to Brahms these days, I ever so often find myself thinking, "That sounds like Schönberg." Arnie had many influences, but Brahms was by and far the composer to whom he owed the most.
El más bello de todos~
00:10 (3:18 etwas weniger bewegt) (5:00 sehr zurückhalten)
7:05 viel langsamer
13:52 langsamer werdend (18:08)
22:27 (24:31) (25:12)
31:16
37:43 serh zurückhaltend, 38:29 fff langsamer werdend
String quartet n.2 is a good option!
all this music was fair game in the Warner Brothers universe, one more reason why I love the old cartoons
Surely this performance is too manic? It doesn't seem to breathe enough. SO when you get to the beautiful 'Mahlerian sunset' of the coda the tranquillity is not fully there. It's true, there is a creative fervour and intensity in this music which is unrelenting and astonishing with contrapuntal unfolding of many themes augmented, inverted, in diminution all evolving at the same time but there needs to be a bit of breath. At first, I thought the recording was sped up!
I LOVE schoenberg
Arnold Schönberg:1.d-moll Vonósnégyes Op.7
Kronos Vonósnégyes
You know, Arnold, you don't have to make them all play at once all the time!
Why not :)
Thanks so much for sharing!! This is an incredible piece of music!! So much of what was coming is in it!!
The performance is all rushed to my taste. Tempos are not good. Also,Dynamics are missing all the way through. But oh well...
Very like it
13:43 is soooo cute!
Obra maestra.
Arnold Rose was Mahler's brother in law.
Along with "Verklärte Nacht op4", this is my favorite work.
at points through all the utter despair sounds almost like a satirical melodrama where arny here is laughing at romeo and juliet and their pre teen suicide pact known as love
lmao
Lmao what
Shönberg is just a classical sounding Captain Beef heart and his Magical Band
If you've seen a full Tom and Jerry episode this won't be hard to listen to at all.
28:20 love this part
The first 2 bars of the violin 1 are one of the motifs in Verklärte Nacht. Or am I wrong?
As a novice listener, this is difficult. Where should one start with Schönberg to best understand?
Verklarte Nacht may offer you more space to breathe, though it is still quite dense as Schoenberg's music tends to be. There's also the 1897 string quartet (sometimes labelled "No. 0"), but that is pretty generic (albeit fine music) and probably won't help much in understanding what Schoenberg is doing here.
@@cazazzadan Thank you. I'm trying but this is not intuitive for me. Schoenberg is like the Constable in Much Ado About Nothing, "too cunning to be understood."
@@halseytaylor9522 😂 this is German expressionism, quite unpalatable for any first listener, very "cerebral", not everyone's cup of tea, like observing a Pollock painting for the first time.
As a novice listener I would suggest you familiarize first thoroughly with more traditional SQ from the classical all the way through romanticism up until this point, XX century and the dawn of atonalality. Try Borodin's 2° SQ or Beethoven 14° SQ, so you can also see the contrasts between the two styles or periods in the history of music.
@@jonascastejon5888 Yes, I love Borodin's 2nd and Beethoven's 14th. I guess I'm a romantic because both help me breathe. Just having trouble shifting gears to Schoenberg. Atonality is an elusive concept and I'm no musician just an under-educated but interested listener.
@@ignacioclerici5341 Music is not only harmony. There are many other aspects. When you learn to appreciate those other aspects, it opens you up to a lot of great music which is not tonal.
love this piece. oh the pleasing dissonance! 🤪. and Herr Schönberg, we can do without key signatures here.🙂
I still have no idea what makes a music atonal or tonal though I've been listening to both for much of my life. Can anyone enlighten me?
Tonal music has a harmonic direction, its natural harmonic structural leads our ears towards a centre, a key. Atonal music doesn't have that privilege; rather it must lead us musically without a harmonic centre or focus. That is what makes atonal music wonderful, it can take us on a musical journey without the need for a key centre
@@willmartin3067 yeah but it's emotionless and really Boring and no one can deny it's ugly
@@ignacioclerici5341 “emotionless”?!
Speak for yourself.
As Charles Rosen said in his book on Schoenberg, the problem people *really* have with Schoenberg’s music is that it’s *too* emotional. The same applies to this very highly strung/hectoring piece.
@@MorganHayes_Composer.Pianist the problem about schoenberg is that he didnt care about Beauty, at least he abandoned it, innovation without Beauty means nothing, thats why 95% of people don't like schoenberg
@@ignacioclerici5341 people have different perceptions of what is beautiful / engaging as is clear from a cursory glance underneath this video.
The conductor Jeffrey Tate criticised Karajan's beautifying approach to the works of Schoenberg and said that the truth of this music is ugly.
❤
strepitoso...
7:05
It suits you :) It is a really nice moment!
0:09
A Schönberg piece that specifies its key.................. Is this a dream or something????!!!!
Wdym “specifies it’s key”? The whole point of atonality is it doesn’t operate in a key. Cant specify what’s not there
@@bmort1313 Erhem...............it is String Quartet in D MINOR! Is that not a specific key?!
@@_rstcm this isn’t atonal. This is written (1905) before he developed his first system of atonality in 1909
Beautiful from 38:40
☺
Brahms was impressed.
Brahms was dead
@@jonchaies3006 Oh, yea. Confused this quartet with the String Quartet in D major (1897). Brahms was impressed with this earlier quartet. ruclips.net/video/tHcx8a9-V0Y/видео.html
Brahms would've been impressed to hear how meticulously Schoenberg used his methods, but would've probably been horrified once he heard the actual thing
@@null3707 Bach would have had the same reaction to Brahms !!
@@null3707 Probably "Wagnerian mess" or something.
Or not. We simply don't know.
Why does the opening give me Grosse Fuge vibes?
10:08 onwards wow
11:34. Transfigured night
💻💻💻💻
41:10 Sounds like the Star Trek intro
34:24
la quintessence beethovenienne semble évidente a travers ces créations de schoenberg ,,
0:10
Coda sounds like the Mahler Adagietto
22:22
28:22
How dare you whistle while I'm applauding?!
It's better than it sounds.
Ha, I wonder if that's a better thing than something being not as "good" as it sounds? I once saw a comment about Tchaikovsky that lots of his music wasn't really as good as it sounded.
dave not cathy- he cld have stopped while he was ahead w verklarke nacth
Neurotisch, sehr neurotisch... aber in ein besonders guter Weise.
Developing variation / nonrepetition
That is not in D minor.
Starts with a D Minor Chord, sticks around for a good few bars, and goes back every so often (20:38, for example - the 'recapitulation' of the original tune), and ends in D Major.
Sure, it modulates a lot, but if you're not allowing modulations, You would discount the majority of Beethoven's music from being 'in a key' in that sense.
@@klop4228 same argument goes for Bach
@@Vextrove Goes for the vast majority of composers later than Purcell tbh
Rather Tchaikovsky than Mozart
Taca esta peça fora e não nos lembremos mais dela por estima de nossa humanidade. Um horror!
fr dave not cathy- just because it is well made does not mean it's good- schoenberg starts to go wrong here
Huh?
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free.
Romans 3:23
John 3:16❤❤😊
incredible and sad that such ingenuity does not serve beauty-(too much anti semitism i am guessing)
If you're saying Schoenberg was anti-semitic then you perhaps don't realise that he was Jewish. Listen to "A Survivor from Warsaw". Also, who says this isn't beautiful?
What are you going on about? This piece is very beautiful.
If he could write a quartet as good as this, why, later, did he resort to ugly atonality? Sometimes it's better not to try to be so original!
because atonality is not ugly, stop being that egocentric, there's people with different opinions than yours.
@@GUILLOM preach
@@GUILLOM so what music is ugly?
@@Qazwdx111 boulez
34:24
0:08
11:50
25:53
34:20