this music demonstrates in some way, that beneath the notes, the rules or tendencies of diatonicism, there is another logic that conveys emotional impact and spiritual caress. In other words, master Schoenberg shows at deeper levels that the mystery of music reveals itself subliminally, appeals to the instinct, intuition, and brings you to where you arrive, in perhaps, let us say, less than obvious ways. Communication
(1) No: with respect, thirty years ago, what people MEAN now (from 2019 on) by 'finally' was 'at last' - in other words, I don't think, in 2019, you thought the word 'finally' in this context - because 'finally', four years ago, still just meant the last item in a list, and carried no emotional implication; (2) could you develop a bit what you mean by 'REEKS [of modernity]'? Doesn't 'reeks' mean something UNpleasant-smelling? (whereas you seem to have listened to that music with PLEASURE.)
I love these pieces, their 'abstractness' makes them unobtrusive for me. I don't get swept along in a tonal-current, though there's a semblance of order to them that is also absent in many 'atonal' works, which is why I listen to Schoenberg more often than other composers whose works are typically less tonal. It's nice to just hear the relationships between notes, without there being a strong dictation of which relationships are 'good' and which ones are 'bad'.
@@fredericfrancoischopin6971 Well, I believe going at all music is a little bit ambitious. More specifically, I meant that "abstract" music is much more prominent in the style Schoenberg tries to provoke: the highly formal German style of Brahms, Reger into Schoenberg, Hindemith...
I feel so weird to stumble upon this while looking for Schoenberg piano pieces, reading the comments, googling Pollini to see what's so good about him and seeing he died 5 hours ago.
I did this for my Advance Piano course in College. This piece and Webern's Variation will greatly improve your sight reading. It was almost scary how much I improved after working with them for just about 3-4 weeks and I am not even talking daily. Just every 2 days for about a hour or more.
@@spiritualneutralist2597 Brahms' piano music is dreadful; it's like he was doing a very bad imitation/rehash of Schumann's Kreisleriana his entire life.
This is music as language. If you don't understand the language it would sound random. Chinese sounds random to me too. Maybe it's overly intellectual and not "beautiful" for most tastes but it's definitely a piece of art. I myself am not that big on most of Schoenberg's work, but he's a master and should be studied.
This is extremely beautiful. Who cares it its not completely "atonal"? That "tonal" spice thrown in the mix, makes this even better. Its sad that few people realize this.
Mi acercamiento a Arnold Schönberg es tardío -gracias a un sueño que tuve tras la muerte de un viejo amigo- como si hasta en ello tuvieran que enhebrarse las mallas del inconsciente. El sueño me revelaría la pieza del puzzle que durante años andaba buscando sin darme cuenta de que bastaba escuchar sin prejuicios para descubrir la singularidad del músico al que yo me resistía. Luz de un astro que me aguardaba silente. Arnold Schönberg es uno de los baluartes de la música occidental. Y lo es tanto por la intensidad de su obra como por la influencia determinante que ella tuvo en las generaciones ulteriores. Su conocimiento musical es incontestable, como lo son su sed de lo absoluto y su callada genialidad. Se podría decir que la música estaba en él, le era congénita, le emanaba . Fuera parte de algunas lecciones de contrapunto con Alexander von Zemlinsky, aprendió escritura musical a través de la lectura de compositores clásicos o practicando violín y violoncelo. Músico de su tiempo, coronó una trayectoria anclada en la tradición y despejó un horizonte hasta entonces insospechable, tramando nuevas vías compositivas, consideradas tan audaces que no se le perdonaría su osadía mientras vivió. «Todo el mundo, o casi todo el mundo, ve en él una figura emblemática del arte del siglo XX. Quiérase o no, se estima que su obra dice algo acerca de la condición del hombre moderno. […] La doxa , incluida la musicológica o historiográfica, ve en Schönberg un revolucionario, es decir, el actor de una ruptura en la historia de la música. Por esa razón, se le cuestionó desde un punto de vista estético, y los regímenes totalitarios lo hicieron objeto de una persecución política. Y, a la inversa, esta misma percepción constituye para los admiradores de las vanguardias artísticas el fundamento de su valor» (E. Buch ).
I agree on Pollini. Generally speaking i don't feel qualified to rank performances and interpretations on most pieces. But i listen to this work a lot and almost always Mr. Pollini.
Really wish he had been paired with a better director for modern repertoire than Abaddo on op. 42. His playing was exquisite but the Orchestra sounded like it was trying to escape from a shoebox and was barely audible at critical moments.
I didn't 'have to learn to love' these. I loved them from the very first audition! Regardless, thank you for posting. Pollini does an excellent job. He is known for being 'clinical', but I think he is just accurate and his style of playing brings out the full beauty of Schoenberg. (Mitsuko Uchida is also an excellent interpreter of Schoenberg.) I have this CD, which also has Schoenberg's suite for piano Op. 25. I must say, after I heard this, I thought of Schoenberg as the successor to Bach, and one of the greatest composers in history along with Bach and Beethoven. In addition, his music has a unique modern voice . . . it is a shame that it is not more widely programmed and heard.
Daniel Hartnett You grow up. Nobody asked the guy. He just started yapping about not needing to learn how to appreciate modern music. I think it's so sad, nobody was saying anything bad about modern music and he just started defending it as if it needed to be defended. That's what I think is sooo funny about modern music audiences. They are all cunts (no offense, ok?). They hate their own taste for art and feel like defending it for whatever's sake even when it is uncalled for. And they defend it with intellectual arguments, as if "you're a dumb fuck if you don't like/understand my piece of shit music". Duh.
It really took me a moment to get my ear used to what I was hearing; it was really quite jarring at first. The fact that I have perfect pitch makes enjoying atonal music that much more difficult for me, as I find it hard to not hear exact notes, pitches, chords, keys, consonances, etc. But once I was able to let go of those preconceptions and just listen, I mean really listen to what I was hearing.......I was utterly enraptured. Pollini's performance definitely helps to draw you in and keep you there; there is something utterly brilliant in these three pieces. It's not like anything I've heard before, and I'm glad I've finally broken through my initial repulsion and found a way to enjoy it.
This is indeed rhe first fully aronal op. of Schoenberg. The finale of the second string quarttet was atonal, but kept very tiny links to the tonality through the simple chord of F# major which sounds very sparsely in that movement (the work is in F# minor).. The second piece develops an ostinato, a technique that Schoeberg will later abandon, but which we can find in some works by his pupil Berg, and later on by Dallapiccola (Quaderno musicale di Annalibera)
An "atonal" work that has soul or is played compellingly. The effect of most atonal music on me is a melancholic one. I can see the mid day time when everyone is asleep and the silence drives your imagination wild by mixing real memories with dreams.
makes me think of Mahler and Schumann, but also Bartok and Debussy, thé expression of those pieces is intense ! thanks for the video ! edit : And i forgot Wagner, stylistically, i think this is heavily influenced by Wagner. quite fascinating to hear !
I keep listening to Schoenberg, figuring that sooner or later, some of his music will make sense. I'm getting old now though. So it better happen soon. lol
Either you like it or you don't. I like it because I'm a fan of nonsense guitar playing (being a player myself) but it's surprisingly hard to play what sounds like actual nonsense, hence I study the master of it.
I tried to "like" this stuff for 40 years. Believe me, you eventually reach a point where you realize you just don't like it, life is too short, and you learn to live with the fact that there's some music you find unbelieveably ugly.
Когда слушаешь музыку Шенберга,поначалу кажется,что слушаешь какофонию звуков,но прислушавшись,ты понимаешь,что в этих диссонансах ты ощущаешь прелесть и гармонические обороты,до того неизведанные и невидимые,словно ты попал в другое измерение музыки, как ни странно,стоит сказать,что столь необычный модерн настолько завораживает,что прослушав не одно произведение композитора,ты осознаешь,нечто новое и оригинальное,ни с чем не схожее,и в то же время абсолютно отвечающее,духу нашему времени..Я многое открыла, в этих произведениях для себя новое,теперь понимаю,почему наряду с Великим Бахом,этот композитор увлек и замечательного исполнителя Глена Гульда,который также восхищаться А.Шенбергом...
I disagree with the comments you give in the description somewhat. All of Schoenberg is thinly swathed in the vestiges of tonality, classical form, harmony and - especially - counterpoint. Whenever I hear Schoenberg I hear very strongly the previous tradition. Yes the pitch classes are different, but the gestures, forms, motions and counter motions are all there and traditional.
Yes, especially in his earlier works where Brahms' influence puts him more in the neo-classical genre. Later though, with him embracing expressionism, he is less concerned with classical form and tradition.
The liner notes are emphasizing that after this opus for solo piano the forms are very hard to detect; not only hard to detect but the composer is purposely squashing them. This opus the composer exposes a traditional style and in plain sight so to speak modifies and transforms while preserving, hence thinly veiled. As gorgeously musical as OP 25 is, the forms have been once and for all broken. Harmony and counterpoint are not part of form and structure.
I beg of you, stop saying that this is random. Don't just put this on thoughtlessly and then complain not only that you don't understand, but that all you hear is jumble of notes that sound horrible! That's not how you listen to music of any kind, especcialy not to a piece as strange to the ear, which is after all used to something entirely different, as this. If you need order to appreciate music, listen for patterns - you will hear them! And listen for movement, it is very apparent that it's also here. Where is the music going? How does it change? Are you able to discern that by listening only passively? Try once to fixate on some part of the music and let it carry you until the end! Then you will at least be able to pass your judgment on these pieces as a whole! "Cat playing" indeed. This is not a problem of understanding. It's simply lack of awareness. I am sorry for the harshness of my comment, but no one seemed to be even slightly interested in pointing this out. I am sure many of you did just what I said you should do and more (this is after all elementary, no theory required) but there seems to be quite an amount of people who just...didn't.
there is a culture of active listening, and then there's music that was created because of hundreds of years of the development of that culture (or faculty) unfortunately i don't think it's something that is inbuilt in everyone.
These people do not respect music and its various expressions. This is not horror music, this is MUSIC. Listen carefully and respect if you don't like dodecaphonic music and contemporary music in general Respect all the various artistic expressions and, listen carefully
Bach wasn't appercited for 150 years after his death, now he's a father of baroque era and master of polyphony and fugue form. You see but, you don't want to see, you hear, but you don't want to hear.
The comments here are priceless. "Refreshing relief from too much diatonic music." Well, that's nothing. Yesterday I ate a shovelful of sand. It was a refreshing relief from tasty, nutritious food!
It's been called abstract but it could work as a metaphor for things far from our daily comprenhension. This reminds me of the subconscious, a sea of thoughts that we typically don't grasp the currents. And as a physics enthusiast this is how I imagine the quantum world would sound like.
This video does not explain the influence that this guy had, which is easy to overlook. The form of the music is besides the point. He was making movies here. It is called an arch form. There is a beginning, a middle and an end, just like most movies. But what great music! He was an affiliate of the "Second Viennese School" with the likes of Alban Berg ("Lulu") and Anton Webern, who also used pianissimo generously. They were into Beethoven and Mahler very much. I was fortunate to take a musicology class at the university where I learned about great composers like Debussy and Ravel, as well as this guy.
Bollocks. How many cats have been called out to play atonal music? Yet I've never seen a cat playing them...it's still organized sound, not random sound. Even serialism has intentions and has to be composed
I agree. That first piece especially is just sublime. I really like this period of Schoenberg's music, before he fully developed the 12 tone method and was more freely atonal. So good.
Indeed. While the 12-tone method did lead to some pretty interesting results in Berg's and Webern's output, I can't help but feel that the freeform spontaneity of this style really did wonders for a number of composers, Schoenberg included. There's still quite a lot of motivic cohesion in these works, as well, so structure is hardly an issue. One could also argue that the 12-tone method almost negated the whole point of atonality, at least if one considers such to be greater gestural and expressive freedom.
JamesZ32100 coming from someone who truly loves free jazz and listens to a Lot of free jazz, no.... this piece is highly structured. but I get where you are coming from tho
isn’t this song about a man going for a walk with a black coat on, and he tries to brush the moonlight off his jacket, thinking it’s dust, but he can’t and goes insane trying?
That’s a different piece by Schoenberg. I think you’re referring to a movement from his “Pierrot lunaire.” The movement about trying to brush moonlight off his jacket is No. 18 “Der Mondfleck.”
@@LydiaHedberg OH MY GOD THANK YOU SO MUCH! you’re right! i knew about the song i just couldn’t remember what it sounded like or what it was called, so i assumed this was it
Is there some quality in these pieces that is "anti-musical"? Like, the rhythms and pitches are constructed in such a way so as to prevent any hanging onto the "order" that is present in more traditional music... yet, it is not as if someone simply went to the piano and started mashing keys. It's carefully constructed... just writing thoughts lol
Yes, I’d imagine that Schoenberg imbued the piece with a sort of hidden intervallic coherence that isn’t immediately perceivable to the listener, which allows for the illusion of randomness while still sounding compelling. Not to mention his use of motifs which undergo many instances of both sequencing and transformation to grant the listener with further grounding.
Schoenberg never composed serialist music. Serialism as a term is associated with 'total serialism' more in the 1950s. If you like this you would love Alban Berg's music because even the dodecaphonic works are somewhat tonal.
@@klop4228 Partial Serialism does exist, it is when one or more aspects of music are serialized. Total Serialism is where all aspects of music are serialized.
I really like this! It's good to listen to music that is so far outside what we usually here every now and then. For me, tonality can get very annoying sometimes. Escaping from that is almost needed at times. :-)
@@lodew The era of ridiculous avant-garde bullshit is largely over too, except for those who cling to the style because they are incapable of writing anything decent-sounding that isn't second- or third-rate.
@Yash Salvi Blah blah blah. I know all about music, thanks. Stop pretending like you know more just because you like the avant-garde, as though that in itself somehow makes you more erudite than detractors of the aesthetic. Maybe you should look at some of the things composers in the past said about composers prior to them that they didn't like. I suppose you'd like to say they didn't know what they were talking about either. I'm under no compulsion to like or even appreciate what they do. Can you actually make a distinction between avant-garde composers and tell me which ones are better, in the same way that one can say that Mozart or Beethoven was demonstrably better than their forgotten peers? Can you actually tell me WHY one is better than another? For fuck's sake, someone created a piece of "music" by having birds shit on top of oversized manuscript paper and then notating it, and it was played by a full orchestra, meanwhile someone who actually takes the time to create something coherent can't get a performance because their music isn't "avant-garde" enough.
In my graduated school that B G# G have become a meme, and students majoring composition is playing that over and over with stupid self-made lyrics. help
Pollini´s interpretatIon ist great. Astounding, as he plays Satie just as phantastic. I´d love to hear Schoenberg by Herbert Henck. His Gurdjieff/De Hartmann on WERGO by the way is unsurpassed.
Hello Janne, i have an old double LP at my other home place which i bought as a Kid instantly falling in love with "Jack in the Box". I´d have to look for that. I try to remember the label.... Best wishes from Berlin!
In spite of being as a whole dodecafonic, there are moments lyrical wave. Expansions of ideas are followed by concentrate ones, allways in the search of an intime atmosfere, as if it were holy smoke. The part of the trinos is intense. Los choques armónicos no son para tanto. El inicio del bageht es tumultuosa, grupos de tres notas, ascendentes y a la vez descendentes marcan el final. ❤
whoever think this is boring or sounds horrible doesnt listen to classical music...understanding classical music is a long process and you cant start with difficult composers like schoenberg...
@@SadisticKillerXx But taste is not merely a matter of isolated subjective appreciation, it is also an access to a common ground, an experience of sentiments that have been experienced by others, we share experiences with others. One's taste, as matter of level and cultivation, is thus dependent on what one has cultivated according to these shared experiences. Of course, you don't have to like all classical music. But 'vano's' proposal still holds, though I would like to clarify that understanding a composer is not the same as liking him. One can very much understand what is at stake and appreciate the aesthetic gesture, but it is not the case that we are to find ourselves judging something for the sentiments of beauty it might provoque in us.
Vano the fuck you are talking about this is not about taking time to appreciate it its about forcing yourself to like the piece, like any songs that you dont like in the first hearing. I cant accept the fact that people like this atonal trash, when there are so many other beautiful composers out there.
it's a type of music called Expressionism... in case you're wondering... Expressionism is basically having genuine emotions with exaggeration... if you want to know more, just do research... :)) Have a good day!
A pesar de ser totalmente dodecafónico, hay momentos de auténtico lirismo. Expansiones de ideas se siguen por otras concentradas, siempre en la búsqueda de una atmósfera íntima, como si fuera incienso. La parte de los trinos es intensa. Los choques armónicos no son para tanto. The begining of the begeht is rush. grupos of 3 notes upwards und downwards are the Mark of the end., ❤
Your taste may not really change as you listen to more music but you may be able to process/relate to music that is less patterned as time goes on and recognize the patterns more easily. That is what may allow you to grasp some parts of this music but it takes time. At least that’s my opinion.
You say that the first piece is an ABA form, but isn't the second piece also an ABA form? I agree it's less clear but I don't find any other form that matches this piece. By the way thank you very much for uploading this gorgeous piece!
I enjoy getting constantly "surprised" by the atonality of the song, as a break from exxessively repetitive music, however, I don't think it sounds as "beautiful" as many of the comments say. I give the credit to the amazing performance.
Serialism is a method of composition in which notes are derived from a constructed 12-tone series and used according to certain roles. This is just freely atonal music made without adherence to any rules.
I LISTENED TO ABOUT 2 MINS OF THIS AND I HAD TO CLOSE IT UP. I DONT THINK YOURE GOING TO LIKE IT. I SURE DONT. THIS DOESNT EVEN SOUND LIKE MUSIC. I LIKE LISTZ MUSIC BECAUSE THERE IS SOME HORROR SOUNDS THROWN IN, BUT HIS MUSIC CHANGES AND YOU HEAR A LOT OF SWEETNESS IN HIS MUSIC. WHAT I HEARD HERE IN THE FIRST 2 MINUTES IT SOUNDS LIKE EVERY NOTE BEING PLAYED IS INCORRECT. LIKE HE IS HITTING EVERY NOTE WRONG. ITS NOT MY CUP OF TEA. A FRIEND OF MINE WARNED ME HE DID NOT LIKE MODERN CLASSICAL MUSIC AND NOW I KNOW WHY. THIS MUSIC WOULD GO GOOD IN A HORROR MOVIE.
I like this music, but reading these pretentious comments has corrupted me. I almost want to hate it, just so I don't align with some of you. But I'm not that petty. It is especially odd that so many consider this music beautiful. I think it great, and profound, rather than beautiful. In fact, I believe that if you find it beautiful, you are missing the point, no? Schoenberg's goal was to express all the expressions that had not been regurgitated repeatedly before. He wanted to strike you with the full breadth of possibility; the extent to which the human senses are illogical and overwhelming. I find it very disingenuous to associate "overwhelming" with "beautiful." But again, I don't feel like I have to police others.
'He wanted to strike you with the full breadth of possibility; the extent to which the human senses are illogical and overwhelming'... talk about pretentious
I'm going to have this tune stuck in my head all day.
John Zielinski this gave me a good laugh
The part at 1:07 was stuck in my head all day, unironically
🤣 That's really funny!
It is quite a catchy and simple little melody, isn't it? ;-)
Which one? The dum dum dum dee dee dee or the dum dum dum dee dee dee one?
this music demonstrates in some way, that beneath the notes, the rules or tendencies of diatonicism, there is another logic that conveys emotional impact and spiritual caress. In other words, master Schoenberg shows at deeper levels that the mystery of music reveals itself subliminally, appeals to the instinct, intuition, and brings you to where you arrive, in perhaps, let us say, less than obvious ways. Communication
nigga how tf u get that from instruments 🤣
Well put.
Harmony isn't the only aspect of music hopefully. We'd only be playing chords on downbeats.
first time i heard this music i thought to myself 'oh yeah finally something new' thirty years later i listen in awe. this still reeks of modernity.
(1) No: with respect, thirty years ago, what people MEAN now (from 2019 on) by 'finally' was 'at last' - in other words, I don't think, in 2019, you thought the word 'finally' in this context - because 'finally', four years ago, still just meant the last item in a list, and carried no emotional implication; (2) could you develop a bit what you mean by 'REEKS [of modernity]'? Doesn't 'reeks' mean something UNpleasant-smelling? (whereas you seem to have listened to that music with PLEASURE.)
@@julianwynne8705 ??????????????
@@julianwynne8705 This nigga has lost his mind
@@julianwynne8705 You need a hug man?
@@guilhermemarello5698 you asking or telling me?
I love these pieces, their 'abstractness' makes them unobtrusive for me. I don't get swept along in a tonal-current, though there's a semblance of order to them that is also absent in many 'atonal' works, which is why I listen to Schoenberg more often than other composers whose works are typically less tonal. It's nice to just hear the relationships between notes, without there being a strong dictation of which relationships are 'good' and which ones are 'bad'.
Every music is abstracted.
🤓🤓🤓🤓🤓🤓🤓🤓🤓
😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭🥺🥺🥺🥺🥺🥺🥺🥺🥺🤓🤓🤓🤓🤓🤓🤓🤓🧔🧔🧔🧔🧔🫀🫀🫀🫀👄👄👄🧕💂♂💂♂💂♂🧕🧕🧕🧕
Xd
@@fredericfrancoischopin6971 Well, I believe going at all music is a little bit ambitious. More specifically, I meant that "abstract" music is much more prominent in the style Schoenberg tries to provoke: the highly formal German style of Brahms, Reger into Schoenberg, Hindemith...
Some of the most beautiful notes ever written for piano. The way the chords are perfectly weighted and with such delicacy. Never tire of it. Haunting.
Yes, C# is such a lovely note, isn’t is?-and E natural is pretty nice too. I wish I had thought of them.
You will, Jeffry, you will.😉@@jeffryphillipsburns
@@jeffryphillipsburnsis this a joke that the op didn’t get or are you serious
I feel so weird to stumble upon this while looking for Schoenberg piano pieces, reading the comments, googling Pollini to see what's so good about him and seeing he died 5 hours ago.
ultimate sight-reading hell
I did this for my Advance Piano course in College. This piece and Webern's Variation will greatly improve your sight reading. It was almost scary how much I improved after working with them for just about 3-4 weeks and I am not even talking daily. Just every 2 days for about a hour or more.
Try Reger organ works like Inferno Fantasy. In my opinion this is easy to read and to turn the pages. Even some Bach fugues are more difficult.
@@spiritussanctusband fax
rather this than a ben johnston
Search Nikolai Kapustin´s works
I think Schoenberg's style sounds particularly cool on piano. This and his piano suite are the best Schoenberg I've heard.
+Mike Simpson It's such a pitty that he wrote so little for piano solo...
Funny enough I feel the same way about Brahms another great germanic composer.
@@spiritualneutralist2597 Brahms' piano music is dreadful; it's like he was doing a very bad imitation/rehash of Schumann's Kreisleriana his entire life.
Piano has a very uniform timbre throughout its register, which leads to a uniform texture despite the crazy atonality
@@FranciPiano No it isn’t. 😎🎹
The second movement is the most beautiful work I ve ever listened. I suddenly started feeling strong emotions when listening to Schoenberg.
That makes one of you. :)
@@sergeiparajanovtwo of us
@@rearedevening9283 Three of us
This is music as language. If you don't understand the language it would sound random. Chinese sounds random to me too. Maybe it's overly intellectual and not "beautiful" for most tastes but it's definitely a piece of art. I myself am not that big on most of Schoenberg's work, but he's a master and should be studied.
Anthony Braxton the saxophonist once said he made his saxophone talk more than sing...
These analogies are getting out of hands. Are you really using a tonal language to describe atonal works? 😭
This doesn’t sound random, but most atonal music does, and some of it kind of is.
This is extremely beautiful. Who cares it its not completely "atonal"? That "tonal" spice thrown in the mix, makes this even better. Its sad that few people realize this.
This and the piano suite are beautiful piano pieces by Schoenberg.
Nein, ist es nicht. Das ist eine Foltermethode.
@@simon05 ist doch egal. Ich gönn mir.
Where is tonal spice? 😀
Love to hear those enigmatic sounds over and over, and just deliver myself to the enigma.
Mi acercamiento a Arnold Schönberg es tardío -gracias a un sueño que tuve tras la muerte de un viejo amigo- como si hasta en ello tuvieran que enhebrarse las mallas del inconsciente. El sueño me revelaría la pieza del puzzle que durante años andaba buscando sin darme cuenta de que bastaba escuchar sin prejuicios para descubrir la singularidad del músico al que yo me resistía. Luz de un astro que me aguardaba silente. Arnold Schönberg es uno de los baluartes de la música occidental. Y lo es tanto por la intensidad de su obra como por la influencia determinante que ella tuvo en las generaciones ulteriores. Su conocimiento musical es incontestable, como lo son su sed de lo absoluto y su callada genialidad. Se podría decir que la música estaba en él, le era congénita, le emanaba . Fuera parte de algunas lecciones de contrapunto con Alexander von Zemlinsky, aprendió escritura musical a través de la lectura de compositores clásicos o practicando violín y violoncelo. Músico de su tiempo, coronó una trayectoria anclada en la tradición y despejó un horizonte hasta entonces insospechable, tramando nuevas vías compositivas, consideradas tan audaces que no se le perdonaría su osadía mientras vivió. «Todo el mundo, o casi todo el mundo, ve en él una figura emblemática del arte del siglo XX. Quiérase o no, se estima que su obra dice algo acerca de la condición del hombre moderno. […] La doxa , incluida la musicológica o historiográfica, ve en Schönberg un revolucionario, es decir, el actor de una ruptura en la historia de la música. Por esa razón, se le cuestionó desde un punto de vista estético, y los regímenes totalitarios lo hicieron objeto de una persecución política. Y, a la inversa, esta misma percepción constituye para los admiradores de las vanguardias artísticas el fundamento de su valor» (E. Buch ).
Increíble👏👏👏👏👏🤝
This is so beautiful.
I love all of Schönberg's work
the e was unnecessary
I love contemporary music at all
Obviously Schoenberg too
@@helenamarie4337 thanks ;)
Yes, it is very beautiful:) one Friend of mine says allways Schirchberg;)
Pollini hits it out of the park. The most beautiful interpretation of these pieces I've ever heard.
Just exquisite. He has pondered absolutely every note.
I agree on Pollini. Generally speaking i don't feel qualified to rank performances and interpretations on most pieces. But i listen to this work a lot and almost always Mr. Pollini.
Really wish he had been paired with a better director for modern repertoire than Abaddo on op. 42. His playing was exquisite but the Orchestra sounded like it was trying to escape from a shoebox and was barely audible at critical moments.
Samuel Andreyev sent me here. I stayed because of how beautiful it is.
"Do you feel that new air? Are you breathing it?"
roseman Lenny
Lecture 5, The Twentieth Century Crisis
Wrong piece. That's the Second String Quartet.
Hauntingly compelling. Thanks very much for posting such great music.
I didn't 'have to learn to love' these. I loved them from the very first audition! Regardless, thank you for posting. Pollini does an excellent job. He is known for being 'clinical', but I think he is just accurate and his style of playing brings out the full beauty of Schoenberg. (Mitsuko Uchida is also an excellent interpreter of Schoenberg.) I have this CD, which also has Schoenberg's suite for piano Op. 25. I must say, after I heard this, I thought of Schoenberg as the successor to Bach, and one of the greatest composers in history along with Bach and Beethoven. In addition, his music has a unique modern voice . . . it is a shame that it is not more widely programmed and heard.
What is the cd that you have called? I think I might want to get it sometime
+Odisseu de Ítaca Grow up.
Daniel Hartnett You grow up. Nobody asked the guy. He just started yapping about not needing to learn how to appreciate modern music. I think it's so sad, nobody was saying anything bad about modern music and he just started defending it as if it needed to be defended. That's what I think is sooo funny about modern music audiences. They are all cunts (no offense, ok?). They hate their own taste for art and feel like defending it for whatever's sake even when it is uncalled for. And they defend it with intellectual arguments, as if "you're a dumb fuck if you don't like/understand my piece of shit music". Duh.
Calling someone a racial slur and a genital region seems kind of uncalled for in this situation though
+Stewart Nash there is no genius to be found in this non sense
Here's a good musical exercise. Find the key signature that minimizes the number of accidentals. lol Good luck.
B-flat minor!
X Double Sharp ish
It can have two simultaneous key signatures
One with accidentals and a superimposed natural signature
C-major
@@jiaxuli1013 It stands basically in "C-Major". So it wouldnt make any sense
It really took me a moment to get my ear used to what I was hearing; it was really quite jarring at first. The fact that I have perfect pitch makes enjoying atonal music that much more difficult for me, as I find it hard to not hear exact notes, pitches, chords, keys, consonances, etc. But once I was able to let go of those preconceptions and just listen, I mean really listen to what I was hearing.......I was utterly enraptured. Pollini's performance definitely helps to draw you in and keep you there; there is something utterly brilliant in these three pieces. It's not like anything I've heard before, and I'm glad I've finally broken through my initial repulsion and found a way to enjoy it.
Well, shit, I have perfect pitch too and I got into Schoenberg fairly easily
Und jetzt, auf nach Webern !
free atonality can be so beautiful!!! so colorful and wandering in the dark...
Pollini is just stunning in his interpretation.
Couldn't agree more. Stunning and moving.
This is a soundtrack for a movie not yet released... It has suspense, runs, expectations, resolutions... in a compact form...
This is indeed rhe first fully aronal op. of Schoenberg. The finale of the second string quarttet was atonal, but kept very tiny links to the tonality through the simple chord of F# major which sounds very sparsely in that movement (the work is in F# minor).. The second piece develops an ostinato, a technique that Schoeberg will later abandon, but which we can find in some works by his pupil Berg, and later on by Dallapiccola (Quaderno musicale di Annalibera)
0:48 Man, how you can do crescendo-decrescendo on two notes on a piano ? Schonberg was really emotive string player
you are supposed to gesture the dynamic with your body... or something :P
Maybe una corda?
atsome point he has cresc-decresc on one chord !
In one of his op 19 there's a cresc-decr on two chords that are each two beats- the peak of the hairpin is literally placed between the two chords.
It's the viiibe man
An "atonal" work that has soul or is played compellingly. The effect of most atonal music on me is a melancholic one. I can see the mid day time when everyone is asleep and the silence drives your imagination wild by mixing real memories with dreams.
Deeply impressive and moving. I LOVE SCHOENBERG!!
Schoenberg, Schnittke, Schostakovitch and Schopenauer - this is my most favorite quarteto.
Schure.....
makes me think of Mahler and Schumann, but also Bartok and Debussy, thé expression of those pieces is intense ! thanks for the video !
edit : And i forgot Wagner, stylistically, i think this is heavily influenced by Wagner. quite fascinating to hear !
Yes, Schoenberg is the true successor to Wagnerian ideologies about music and art.
Arnold Schönberg proved that a great composer would create a wonderful music no matter what kind of technique or musical maretial he chooses.
I keep listening to Schoenberg, figuring that sooner or later, some of his music will make sense. I'm getting old now though. So it better happen soon. lol
Pointy moment.
Either you like it or you don't. I like it because I'm a fan of nonsense guitar playing (being a player myself) but it's surprisingly hard to play what sounds like actual nonsense, hence I study the master of it.
I tried to "like" this stuff for 40 years. Believe me, you eventually reach a point where you realize you just don't like it, life is too short, and you learn to live with the fact that there's some music you find unbelieveably ugly.
He's very philosophical, a surrealist along with Ives.
Pollini is absolutely the best at this stuff.
I'd say Aimard is even better
Когда слушаешь музыку Шенберга,поначалу кажется,что слушаешь какофонию звуков,но прислушавшись,ты понимаешь,что в этих диссонансах ты ощущаешь прелесть и гармонические обороты,до того неизведанные и невидимые,словно ты попал в другое измерение музыки, как ни странно,стоит сказать,что столь необычный модерн настолько завораживает,что прослушав не одно произведение композитора,ты осознаешь,нечто новое и оригинальное,ни с чем не схожее,и в то же время абсолютно отвечающее,духу нашему времени..Я многое открыла, в этих произведениях для себя новое,теперь понимаю,почему наряду с Великим Бахом,этот композитор увлек и замечательного исполнителя Глена Гульда,который также восхищаться А.Шенбергом...
I disagree with the comments you give in the description somewhat. All of Schoenberg is thinly swathed in the vestiges of tonality, classical form, harmony and - especially - counterpoint. Whenever I hear Schoenberg I hear very strongly the previous tradition. Yes the pitch classes are different, but the gestures, forms, motions and counter motions are all there and traditional.
Yes, especially in his earlier works where Brahms' influence puts him more in the neo-classical genre. Later though, with him embracing expressionism, he is less concerned with classical form and tradition.
The liner notes are emphasizing that after this opus for solo piano the forms are very hard to detect; not only hard to detect but the composer is purposely squashing them. This opus the composer exposes a traditional style and in plain sight so to speak modifies and transforms while preserving, hence thinly veiled. As gorgeously musical as OP 25 is, the forms have been once and for all broken. Harmony and counterpoint are not part of form and structure.
I beg of you, stop saying that this is random. Don't just put this on thoughtlessly and then complain not only that you don't understand, but that all you hear is jumble of notes that sound horrible! That's not how you listen to music of any kind, especcialy not to a piece as strange to the ear, which is after all used to something entirely different, as this.
If you need order to appreciate music, listen for patterns - you will hear them! And listen for movement, it is very apparent that it's also here. Where is the music going? How does it change? Are you able to discern that by listening only passively?
Try once to fixate on some part of the music and let it carry you until the end! Then you will at least be able to pass your judgment on these pieces as a whole! "Cat playing" indeed. This is not a problem of understanding. It's simply lack of awareness.
I am sorry for the harshness of my comment, but no one seemed to be even slightly interested in pointing this out. I am sure many of you did just what I said you should do and more (this is after all elementary, no theory required) but there seems to be quite an amount of people who just...didn't.
there is a culture of active listening, and then there's music that was created because of hundreds of years of the development of that culture (or faculty) unfortunately i don't think it's something that is inbuilt in everyone.
These people do not respect music and its various expressions. This is not horror music, this is MUSIC.
Listen carefully and respect if you don't like dodecaphonic music and contemporary music in general
Respect all the various artistic expressions and, listen carefully
Artistic conservatism has never been a good thing
People are not obliged to like, but to always respect
It's called atonality...and is quite genius.
Bach wasn't appercited for 150 years after his death, now he's a father of baroque era and master of polyphony and fugue form. You see but, you don't want to see, you hear, but you don't want to hear.
Those oscillating 3rds in the 2nd piece are so evocative
I am trying to learn the first piece. Reading the score is hard. It helps to listen to how it’s played with the score. Thanks for the great service!!!
No.2 is unbelievably beautiful!!
True. Marked Langsomer, at 9:59 , is a section I have to replay.
NEIN. ABSOLUT. NICHT. SCHÖN.
@@simon05 Unterschiedliche Menschen finden Schönheit in unterschiedlichen Dingen, mein Freund.
Exquisitely written masterpieces. So good. Refreshing relief from too much diatonic music. Very pianistic and with emotional authenticity.
The comments here are priceless. "Refreshing relief from too much diatonic music." Well, that's nothing. Yesterday I ate a shovelful of sand. It was a refreshing relief from tasty, nutritious food!
@@sergeiparajanovmore like eating some spicy food after a life full of of nothing but rice
5:07 is so simple yet so good; I love it
Beautiful; both the playing and composition
This music paints such a unique and honest picture of life
The randomness is genius, really evocative and so creative and original
its not random at all
This is less random than a beethoven sonata
@@WEEBLLOM and sounds more random
@@Qazwdx111 no
@@WEEBLLOM funny
Very useful and sensible introductory note above. Highly persuasive performance.
Your little list of ways to listen helped marvelously, thank you!
It's been called abstract but it could work as a metaphor for things far from our daily comprenhension. This reminds me of the subconscious, a sea of thoughts that we typically don't grasp the currents. And as a physics enthusiast this is how I imagine the quantum world would sound like.
Gosh dang. I've never listened to any more of Op. 25 than the Prelude. This is lovely.
This video does not explain the influence that this guy had, which is easy to overlook. The form of the music is besides the point. He was making movies here. It is called an arch form. There is a beginning, a middle and an end, just like most movies. But what great music! He was an affiliate of the "Second Viennese School" with the likes of Alban Berg ("Lulu") and Anton Webern, who also used pianissimo generously. They were into Beethoven and Mahler very much. I was fortunate to take a musicology class at the university where I learned about great composers like Debussy and Ravel, as well as this guy.
videos of Debussy and Ravel don't either, so what?
My cat could play this!
She is heaven-sent, possibly an alien, and a deft interpreter of the Second Viennese.
Bollocks. How many cats have been called out to play atonal music? Yet I've never seen a cat playing them...it's still organized sound, not random sound. Even serialism has intentions and has to be composed
it is random
Metteler your life is
And you re pretentious
This piece was written before he devised the 12-tone technique
This is one of the most beautiful pieces ever written. Period!
can you sing it?
Carl Hopkinson Do I need to?
I agree. That first piece especially is just sublime. I really like this period of Schoenberg's music, before he fully developed the 12 tone method and was more freely atonal. So good.
Indeed. While the 12-tone method did lead to some pretty interesting results in Berg's and Webern's output, I can't help but feel that the freeform spontaneity of this style really did wonders for a number of composers, Schoenberg included. There's still quite a lot of motivic cohesion in these works, as well, so structure is hardly an issue. One could also argue that the 12-tone method almost negated the whole point of atonality, at least if one considers such to be greater gestural and expressive freedom.
Yeah right just as your photo is one of the most beautiful pictures. Pollini however plays it close to perfection if not perfect.
These sound so similar to free form jazz, Schoenberg truly was ahead of his time
JamesZ32100 coming from someone who truly loves free jazz and listens to a Lot of free jazz, no.... this piece is highly structured. but I get where you are coming from tho
I would say that Italian Jazz pianist, Enrico Pieranunzi, now composes similar stuff, but substantially sweeter and jollier.
@@johnlindstrom9994 Do you have an example? I've looked a bit but I don't find anything similar to Schoenberg
as if everything in the world ended up in jazz.
@@hippotropikas5374 check Cecil Taylor's improvisation called Free Improvisation #3, I think it's interesting to compare with this composition!
I find Schoenberg's piano pieces in many w ays his most accessible music, beside Gurrelieder and the chamber concertos.
isn’t this song about a man going for a walk with a black coat on, and he tries to brush the moonlight off his jacket, thinking it’s dust, but he can’t and goes insane trying?
Is this true?
That’s a different piece by Schoenberg. I think you’re referring to a movement from his “Pierrot lunaire.” The movement about trying to brush moonlight off his jacket is No. 18 “Der Mondfleck.”
@@LydiaHedberg OH MY GOD THANK YOU SO MUCH! you’re right! i knew about the song i just couldn’t remember what it sounded like or what it was called, so i assumed this was it
The ending of the middle movement, ugh. So wonderful.
Alles andere als das.
Schönberg is challenging for me. I find myself liking it at times. Other times I try hard to like it, but fall short.
Is there some quality in these pieces that is "anti-musical"? Like, the rhythms and pitches are constructed in such a way so as to prevent any hanging onto the "order" that is present in more traditional music... yet, it is not as if someone simply went to the piano and started mashing keys. It's carefully constructed... just writing thoughts lol
Yes, I’d imagine that Schoenberg imbued the piece with a sort of hidden intervallic coherence that isn’t immediately perceivable to the listener, which allows for the illusion of randomness while still sounding compelling. Not to mention his use of motifs which undergo many instances of both sequencing and transformation to grant the listener with further grounding.
Excellent gateway to Second Viennese music and a great performance (Arrau also played this opus). RIP Maestro Pollini.
I personally like free atonality (such as this) better than serialism.
Schoenberg never composed serialist music. Serialism as a term is associated with 'total serialism' more in the 1950s. If you like this you would love Alban Berg's music because even the dodecaphonic works are somewhat tonal.
@@DreamlessSleepwalker The term 'total serialism' implies the existence of 'partial serialism'. I'd argue that's what Schoenberg's dodecaphony is.
@@klop4228 Partial Serialism does exist, it is when one or more aspects of music are serialized. Total Serialism is where all aspects of music are serialized.
@@DreamlessSleepwalker So if the music tones are serialised, you get dodecaphony, no?
@@klop4228 Yes, so both terms are just synonyms of each other and it is pointless to debate over them.
I want to understand what makes this as lovely as it is.
The piano..
the lack of major minor tonalities, which I suspect were avoided at all cost.
Un des meilleurs enregistrements de Pollini.
I really like this! It's good to listen to music that is so far outside what we usually here every now and then. For me, tonality can get very annoying sometimes. Escaping from that is almost needed at times. :-)
I feel the same way
Not quite as annoying as the people who feel the need to escape it.
@@MaestroTJS XIX century is over, move on
@@lodew The era of ridiculous avant-garde bullshit is largely over too, except for those who cling to the style because they are incapable of writing anything decent-sounding that isn't second- or third-rate.
@Yash Salvi Blah blah blah. I know all about music, thanks. Stop pretending like you know more just because you like the avant-garde, as though that in itself somehow makes you more erudite than detractors of the aesthetic. Maybe you should look at some of the things composers in the past said about composers prior to them that they didn't like. I suppose you'd like to say they didn't know what they were talking about either. I'm under no compulsion to like or even appreciate what they do. Can you actually make a distinction between avant-garde composers and tell me which ones are better, in the same way that one can say that Mozart or Beethoven was demonstrably better than their forgotten peers? Can you actually tell me WHY one is better than another? For fuck's sake, someone created a piece of "music" by having birds shit on top of oversized manuscript paper and then notating it, and it was played by a full orchestra, meanwhile someone who actually takes the time to create something coherent can't get a performance because their music isn't "avant-garde" enough.
it's a very accurate piece!! Pollini did a wonderful job!!!
In my graduated school that B G# G have become a meme, and students majoring composition is playing that over and over with stupid self-made lyrics. help
How did that start?
Lol
This gorgeous!
This is gorgeous: "Zweierbeziehung" - Reinhard Fendrich
and that: "Auberge" - Chris Rea
Pollini´s interpretatIon ist great. Astounding, as he plays Satie just as phantastic. I´d love to hear Schoenberg by Herbert Henck. His Gurdjieff/De Hartmann on WERGO by the way is unsurpassed.
Pollini plays Satie? I never knew!
Hello Janne, i have an old double LP at my other home place which i bought as a Kid instantly falling in love with "Jack in the Box". I´d have to look for that. I try to remember the label.... Best wishes from Berlin!
Janne, hello. I double checked and i have to apologize! Aldo Ciccolini it was. Sorry!
Great! Wonderful Playing! Viva Pollini !
Fascinating! And superbly played!❤
Needed thus for my activity
In spite of being as a whole dodecafonic, there are moments lyrical wave. Expansions of ideas are followed by concentrate ones, allways in the search of an intime atmosfere, as if it were holy smoke. The part of the trinos is intense. Los choques armónicos no son para tanto. El inicio del bageht es tumultuosa, grupos de tres notas, ascendentes y a la vez descendentes marcan el final. ❤
Frank Zappa echoed the 3 beginning notes in a youthful piano piece of his own (and a very good one).
Tony Mostrom, can you tell me the title of Zappa's piece?
ruclips.net/video/7P4O-cK6Ef0/видео.html
Here it is - it's only 1:42 minutes long !
whoever think this is boring or sounds horrible doesnt listen to classical music...understanding classical music is a long process and you cant start with difficult composers like schoenberg...
Not really, depends on what are your tastes, and you don't have to like ALL classical music
@@SadisticKillerXx But taste is not merely a matter of isolated subjective appreciation, it is also an access to a common ground, an experience of sentiments that have been experienced by others, we share experiences with others. One's taste, as matter of level and cultivation, is thus dependent on what one has cultivated according to these shared experiences. Of course, you don't have to like all classical music. But 'vano's' proposal still holds, though I would like to clarify that understanding a composer is not the same as liking him. One can very much understand what is at stake and appreciate the aesthetic gesture, but it is not the case that we are to find ourselves judging something for the sentiments of beauty it might provoque in us.
@@lupo-femme Well, even understanding it, it may sound boring or horrible for some. Understanding =/= appreciation
Vano the fuck you are talking about this is not about taking time to appreciate it its about forcing yourself to like the piece, like any songs that you dont like in the first hearing. I cant accept the fact that people like this atonal trash, when there are so many other beautiful composers out there.
You are a hard task master. Starting a beginner off with Schoenberg ??
Un véritable chef-d'œuvre !
Endlessly fascinating
it's a type of music called Expressionism... in case you're wondering... Expressionism is basically having genuine emotions with exaggeration... if you want to know more, just do research... :)) Have a good day!
schönberg was very much against expressionism, he says so in his book!
a lot of ppl wrongly classify him as such
A pesar de ser totalmente dodecafónico, hay momentos de auténtico lirismo. Expansiones de ideas se siguen por otras concentradas, siempre en la búsqueda de una atmósfera íntima, como si fuera incienso. La parte de los trinos es intensa. Los choques armónicos no son para tanto. The begining of the begeht is rush. grupos of 3 notes upwards und downwards are the Mark of the end., ❤
Your taste may not really change as you listen to more music but you may be able to process/relate to music that is less patterned as time goes on and recognize the patterns more easily. That is what may allow you to grasp some parts of this music but it takes time. At least that’s my opinion.
8:05 really hits out of the dark. I wish I could stay longer in the atmosphere of the high notes
If 8:05 hits like a brick, then 11:09 hits like a semif
This paved the way for death metal jazz \m/
Sounds like a more dissonant Version of Reger, very nice.
So beautiful.
That part with the obstinato bass would make great horror scene incidental music.
Pollini's interpretation of Schoenberg is so fantastic. Is there any better version? I think not!!
I can't imagine a better performance! Absolutely masterful.
Fun fact: The download wallpaper of musescore used this at the first and second bar as a background 0:39
You say that the first piece is an ABA form, but isn't the second piece also an ABA form? I agree it's less clear but I don't find any other form that matches this piece.
By the way thank you very much for uploading this gorgeous piece!
I enjoy getting constantly "surprised" by the atonality of the song, as a break from exxessively repetitive music, however, I don't think it sounds as "beautiful" as many of the comments say. I give the credit to the amazing performance.
im here because of my subject mapeh! BTW the sounds is nice.
Take your soul to hear not your ears and you shall feel the deep.
Beautifully put.
This music is less for the soul and more for the mind.
Can someone please tell me how this differs from serialism? there doesnt seem to be any affinity to one key..
You can watch my analysis if you like! :)
Serialism is a method of composition in which notes are derived from a constructed 12-tone series and used according to certain roles. This is just freely atonal music made without adherence to any rules.
Great! Bravo Pollini!
Really struggling with this.... gonna need to listen 1000 more times before I like it, I think.
I LISTENED TO ABOUT 2 MINS OF THIS AND I HAD TO CLOSE IT UP. I DONT THINK YOURE GOING TO LIKE IT. I SURE DONT. THIS DOESNT EVEN SOUND LIKE MUSIC. I LIKE LISTZ MUSIC BECAUSE THERE IS SOME HORROR SOUNDS THROWN IN, BUT HIS MUSIC CHANGES AND YOU HEAR A LOT OF SWEETNESS IN HIS MUSIC. WHAT I HEARD HERE IN THE FIRST 2 MINUTES IT SOUNDS LIKE EVERY NOTE BEING PLAYED IS INCORRECT. LIKE HE IS HITTING EVERY NOTE WRONG. ITS NOT MY CUP OF TEA. A FRIEND OF MINE WARNED ME HE DID NOT LIKE MODERN CLASSICAL MUSIC AND NOW I KNOW WHY. THIS MUSIC WOULD GO GOOD IN A HORROR MOVIE.
@@zennabella1676 dude is your capslock broken or something
@@zennabella1676 dude chill... some people like this ok?
Wonderful music; unique
Nice! 👏👏
I like this music, but reading these pretentious comments has corrupted me. I almost want to hate it, just so I don't align with some of you. But I'm not that petty.
It is especially odd that so many consider this music beautiful. I think it great, and profound, rather than beautiful. In fact, I believe that if you find it beautiful, you are missing the point, no? Schoenberg's goal was to express all the expressions that had not been regurgitated repeatedly before. He wanted to strike you with the full breadth of possibility; the extent to which the human senses are illogical and overwhelming. I find it very disingenuous to associate "overwhelming" with "beautiful." But again, I don't feel like I have to police others.
'He wanted to strike you with the full breadth of possibility; the extent to which the human senses are illogical and overwhelming'... talk about pretentious
Yes, no one gets it but you.
It's just some dissonance, the other elements of classical composition are familiar so yes it sounds beautiful to me.
We get it you are better than us cooler than us and smarter than us in every way our superior 🙇♂️
one of my all time favs
The emotional shift at 1:37 was insane
This is still very much romantic in tone, almost Chopinsque, just with shifting central key.
I disagree that it is Chopinesque. It is much more Brahmsian
It doesnt look too hard to play yet its very beautiful
Willard Soriano i’ve tried learning the 3rd piece and it’s a total bitch unless you have gigantic hands
3:14 - Ligeti's quartet 1 first theme
musica extraña, pero muy hermosa