SEONG-JIN CHO / Berg's Sonata in B Minor, Op. 1
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- Опубликовано: 29 сен 2024
- Seong-Jin Cho performed Alban Berg on the Gilmore Keyboard Festival's 2016-17 Rising Stars Series. Learn more at www.thegilmore...
BERG - Sonata in B Minor, Op. 1
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Audio engineering by Doug Decker
Thumbnail by Mark Bugnaski
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입이 마르고 닳도록 칭찬해야 할 대단한 사람👍
Bravo!
Perfect performance!
Brilliant interpretation!
Fantastic technology!
Brovo!
Finally this video uploaded :)
Please, seong-jin cho chopin 24 prelude video upload!
Gilmore Keyboard Festival It was great! But It's too late :(
Cho is just an amazing pianist. I feel fortunate to have heard him play this piece live. Beautiful sonata.
When it comes to quasi-atonal pieces, one is required to listen to repeated patterns, often on different pages. Berg "suffered" from the inability to avoid melody. He would try to create completely disconnected works characteristic of his teacher. But he would always fail.
His works, both early and "late" (he died before being able to have a real career) always betrayed his inability to create melody-free works.
It is that that we love about him. We excuse him for not being able to avoid melodies. Even "worse" he had an inimitable style. No serial composer should ever have that, should they?
Sanjosemike (no longer in CA)
I'm not sure where you're getting these notions of "melody-free," "disconnected," or even "imitability" from, even among the sarcasm. Is that what Schoenberg was going for, or is that simply what you wish to believe Schoenberg was going for?
@@newaccounter"Where am I getting the impression that a phrase is "melody free?" If no phrase of music can be repeated without using the remaining 12 tones first, the automatic assumption is that there will be no "melody" worth remembering. The brains of humans are wired to repeat melodic sequences in their minds.
If you can't do that, there is no melody. That is the reason why atonal music is mostly disliked by "ordinary" people. Importantly Alban Berg was NOT one of those composers.
Sanjosemike (no longer in CA)
Perhaps you are not only overestimating the stringency with which Schoenberg applied this method, but also ignoring the ways in which melodic figures can be constructed with the dodecaphonic procedure beyond a primitive use of the tone row *as* the melodic figure. Among many other examples, the composer can create a melody by deriving a hexachord from every other note of the tone tow, keeping the remaining notes in the accompaniment. Beyond this, I’m not quite certain what you define as melody.
Your dismissal of the dodecaphonic procedure ignores the fact that composers since the Renaissance have derived entire pieces of music off of small motivic cells. This is not just the essence of fugue writing, but also the essence of such works as Beethoven’s 5th Symphony. Would you consider the four-note fragment from which the entire symphony is derived to be a “melody?” There is nothing in Schoenberg’s procedures which goes beyond the thinking of Brahms or Bach beyond its implementation of all twelve notes of the chromatic scale, and in fact the strong adherence to motivic unity is present all the way up to some of the composer’s earliest unpublished works. Twelve-tone method, relative to the preceding free atonality, is in fact meant to maintain a certain sense of unity. What could be more unified and “connected” than a piece of music in which all the musical material derives from permutations, rhythmic alterations, and transpositions of the same twelve-note motif?
Furthermore, I do not understand how even a stringently twelve-tone work, in that it would not allow for the reappearance of some form of the row until it has already been fully stated beforehand, would prevent the row from being restated enough times to be memorable. Might I suggest a simpler solution? That the motifs with which the music of Schoenberg is so tightly unified with are simply harder to remember by mere virtue of the fact that we are not particularly accustomed to melodies or musical cells of total chromaticism. In this case, all which is really necessary is a decent memory and some patience. Perhaps you have grown too accustomed to the notion that proponents of the dodecaphonic method have imposed some sort of elitist hierarchy, such that whenever you “mock” a so-called serialist’s perspective, you talk a great deal about “ordinary people” or listenability. Nobody is forcing you to listen to Schoenberg. This isn’t about hierarchy or superiority, but perhaps only impatience. Poems written in Chinese aren’t gibberish, but they do say something if you take the time to listen and learn - same for Schoenberg.
@@newaccounter Wow, wonderfully detailed reply, which I enjoyed reading:
"Furthermore, I do not understand how even a stringently twelve-tone work, in that it would not allow for the reappearance of some form of the row until it has already been fully stated beforehand, would prevent the row from being restated enough times to be memorable."
The best example I can give is the 2nd Movement of the Barber Piano Sonata, (which I play), which starts out with two measures in the left hand of a tone row.
It is used as the basis of an accompaniment for the melody of the right hand, which is not quite atonal, in that it permits repetition of notes before the end of a particular phrase.
But a "religious" demand for unrepeated notes prior to finishing the tone row leads to a kind of sterilization that leads to a loss of melody. The Barber Sonata is a great masterwork precisely because Barber did not fall to temptation of atonality, and used it instead, as a "condiment" flavoring his genius.
Sanjosemike (no longer in CA)
amazing 유영주
Amazing... such a deep and true interpretation.... Thank you so much... 12 minutes of pleasure and true music!!!!!!
이거 처음엔 안들었는데 듣다보면 이것만 찾아서 듣게 됩니다..와..귓가에 계속 맴돌게 되는데 장난 아니네요..여운이 남고 계속 생각납니다..
아직 내게는 너무 어려운 곡이지만, 언젠가 다시 듣게 됐을 때 지금보다 더 느끼는게 많았으면 좋겠다
A beautiful performance. Never loses its clarity!
곡은 너무나 어려웠지만 혼을 다하는 연주에 모두가 숨을 쉴 수 없었어요.내년에 꼭 통영에서 다시 보고 싶어요^^.
This is undoubtedly one of the best performances of Berg's piano sonata.
Unique CHOice.
CHOemberg
You are very humorous, good!!!
That's such a gorgeous piece of music
ㅋㅋㅋ 도입부 벤트 알람소리라고 간호사들 PTSD온다는 댓글 보고 검색해서 들어왔다가 감상하고 갑니다~
알반 베르크까지.. 래퍼토리 와..
Thanks for sharing 💕
Really, an amazing interpretation and performance!!
His playing so clean. Thanks for upload video.
도대체 레파토리 없는게 뭘까 듣고싶은 곡 칠때마다 조성진 영상 거의 다 뜸ㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋ
이건 정말 최고다 ㅜㅜ
abstract emotions perhaps! beautiful!!
Ishikawa niv And it would take abstract brains to remember all those notes. Ha ha.
전공자인데도 쇤베르크와 그의 제자들의 곡은 너무나 어렵다.. 조성진 연주여도 집중이 안되네 무식한 말 일 수도 있겠지만.. 12음 기법이고 뭐고 나도 작곡 할 수 있을것 같당.... 정말 어렵다 뭔소린지 모르겠닼ㅋㅋㅋㅋㅋ... 현대음악 공부 좀 해야겠다..
🌹🐇🎀
7:40
여기가 통영에서 리사이틀 공연한건가요
Gilmore festival 이라고 되어있는데요 ^^... rising star들을 초청해 공연한 영상이에요!
@@idakim4588 네 ~^^
The lack of roundness in the sound proves he doesn't quite understand this piece from a psychoacoustic perspective. When you grasp the piece, your inner ear seeks the particular harmonics of the notes and the acoustic picture becomes alive. All I hear are careless chords with mannierisms and your typical technique.
Who would you recommend?
Then you play it and I will compare interpretations.
@@robertvarner9519 Dumbest argument ever. Just imagine for an instant a world where no one could opine about anything unless you are an expert.
Playing and speaking about the pshicological effect of different musical thecniques are two different things and beign an expert in one doesn't inflict authority on the other. That's a cheap association fallacy.
@@yuzoookun Too bad....I like it. BTW...GO TO HELL!
Amadeus Radio I am sure he knows a thing or two about piano music. He is being recognized as one of our top talents today. Otherwise you wouldn't have found him here. Next time if you don't like someone's hard work, just leave. He didn't try to prove anything to you, buddy. LOL.