Alban Berg - 4 Lieder (1910)
HTML-код
- Опубликовано: 27 июл 2024
- Composer: Alban Maria Johannes Berg (February 9, 1885 - December 24, 1935)
Singer: Christianne Stotijn, mezzo-soprano
Pianist: Joseph Breinl
0:00 Aus "Dem Schmerz sein Recht" - "Schlafen, schlafen, nichts als schlafen"
3:15 Aus "Der Glühende" I - "Schlafend trägt man mich"
4:28 Aus "Der Glühende" II - "Nun ich der Riesen stärksten überwand"
5:32 Aus "Der Glühende" III - "Warm die Lüfte"
Scores I engrave: github.com/CMajSeven
How I make my videos: github.com/CMajSeven/Workflow...
Program I develop for this channel: github.com/edwardx999/ScorePr...
![Alban Berg - Sieben Frühe Lieder for Soprano and Piano (1907) [Score-Video]](http://i.ytimg.com/vi/1lz9_841ftg/mqdefault.jpg)
Unglaublich tief und schlafwandlerischschön ❤❤❤
This has such incredible harmony and voice leading, I'm in love.
This last "tiefschön" is just outstanding, amazing interpretation thank you ; Berg what an incredible music...
what incredible enigmatic beauty
This is some of the best music out there, it takes me to a reality downstream of this one
Thank you for uploading. A gem in Berg's incredible but short oeuvre.
the melody alone tells so much!
I really can feel the complex, eerie feelings of the harmonies. Modern music can be beautiful and wholesome after all.
incredible. as always with Berg, a summit of its own. I'd love to orchestrate some of these someday.
Leo, wouldn't you do a violin transcription?
I also can't help hearing a clarinet and piano rendition, maybe because of a tonlos ''Stirb"
Funny. As Berg means mountain in German.
@@OrlandoBBass oh well... maybe a pierrot ensemble arrangement :) but indeed clarinet is a tempting issue when it comes to this subtly tonal beast that is early Berg! ;) I feel like the melodies these are closest to are the Ravel Mallarmé
@@steffen5121 And Schönberg is "beautiful mountain". Ironic since Berg's music tends to be more "beautiful" than Schönberg's...
wow great song thanks sebastian!
Always goosebumps with this music.
As I believe, this and the Klaviersonate Op.1 are some of his most enticing works, in a ravaged and dark harmonic language that extends to twelve tone later on or is more reserved in a Brahmsanian fashion in his youthful works.
this is great
D7(#9). Very jazzy
yeah i caught myself thinking jimmy hendrix a little too many times lol.
I like this performance, but the one with Fischer-Dieskau is otherworldly.
Gotcha!
Amazing vocal tone in 4:00
Any other works by any composer that have the feel this and the Sonata have?
A pity Berg didn't stay longer in this twilit world of not-quite atonal music with key signatures rather than rush into full-bore atonality. It is beautifully performed here.
There were so much to express in his Piano Sonata and Lieder. Unfortunately and fortunately, we did not get to listen to Berg's exploration in this magical soundscape more.
His last work, the violin concerto, isn't very atonal
temazos
Scriabin like.
not at all
Why are all the accidentals noted here despite the key signatures, may I ask?
This is sort of pre-atonal music, so there are a lot of accidentals here. Haven’t studied this score before, but the note must’ve had an accidental in a previous measure, and Berg or the music editor restated the flat in the next measure that note appears as a courtesy reminder to help the performer keep track of what the note is supposed to be. Keeping track of accidentals is especially tricky when there are as many as in this piece.
This was the whole Second Viennese's school convention by that time: Writing accidentals for basically every note (except immediate repetitions), even if it was diatonic to the key. This likely originated from how their music was so chromatically restless by that point that it became extremely difficult for readers to tell whether a pitch was altered or unaltered so they just said screw it, we'll notate everything.
As for why keys? Probably because this was in the awkward transition years where they still considered what they were doing to be tonality and it was tonal convention to write the tonic key at the beginning of each system. They probably thought that telling performers what the tonic was meant to be would in some way assist reading and performance. Berg never fully gave up the tendency since there are a few key signatures written in the Violin Concerto, even though it has zero bearing on how to read the music.
Berg led a fascinating life, the many strands of which came to a head in
the incredible Violin Concerto - check out my video about this piece
here! ruclips.net/video/sDbvpuQqAYU/видео.html
#gemischteshackbesteshack
What are the key signatures even for???? 😅😅😅😅
Just to remind us of the assault on tonality? (I do love this piece 😂)
Volume all the way up and still can't hear it
William Frazier get new earbuds? it works fine for me.
can hmmmmm I'm not using ear buds. I've never had to with anything else. But worth a try
@@williamfrazier5314 problem is with your audio. Works fine for me.