The final movement is probably Schoenberg's finest moment. "I feel the air of another planet", indeed. It's scary, mysterious, excited, happy, and relieved all at the same time.
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❤😊
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❤😊❤❤
@@lowlightpiano7110 Repent and trust in Satan. He's the only way to Hell. We've all antisinned and deserve Heaven. Antisins like antilying, antilusting, etc. Repent and trust only in Satan, and you will be saved! You can be saved because he took the punishment for our antisins on himself when he died on the anticross, just like someone can pay your speeding fine in court, and you get off free. Romans -3:-23 John -3:-16❤😊❤❤
The whole composition is based upon the first five notes in the first violin, and the way this is turned and twisted in small details and figures throughout all four movements is amazing and masterly done. He does sing me a lot of tunes, but none like Schubert, so here the impression rests upon the totality. Starts with f sharp minor and end up on f sharp major. A romantic gesture.
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❤😊
@@mhdfrb9971 I'm not the OC but I think he must have had a very simmilar first experience with Schöenberg: 1. Discover atonal music through the internet. 2. Read about Pierrot Lunaire being a pivotal point in it's development having never listened to Schöenberg. 3. Listen to Pierrot Lunaire. 4. OMG WAHT IZ THIS IT SOUNDZS WEIRD. 5. Never again. As I understand it, Schöenberg compositions are like cakes made of more and more exotic ingredients (atonality, sprechstimme, serialism...) that you need to get familiarized with individualy. If you don't, then his latter works are going to taste real bitter. That's why I always recommend listening to his works chronologically. Arnold was a logical man who composed by method, so evolving your understanding of him while his music changes is, for me, a necessity to truly enjoy his later masterpieces. Hope it helps!
Schoenberg, un poète fabuleux, non seulement inventif, mais capable de nous faire découvrir des émotions inédites du plus profond de notre être. Révélateurs de tout ce que nous avons de plus enfouis, que cela soit apaisant ou inquiétant.
@@CameronGuarino How do you get into 12-tone music? I’ve been trying to for a while but to no avail. Instead of listening for motivic or harmonic development, what do you listen for? Like do you keep in mind the tone row for the whole piece and then pick out each instance of inversion, retrograde, and inverse retrograde? I’m just finding it difficult to “understand” a piece in comparison to a Bach fugue or Mozart string quartet.
@@michaelwu7678 it’s almost impossible to discern the tone row and derivations while listening to a piece without examining the score, even for someone with perfect pitch. try looking up the tone row, playing it, then listen for it in the piece. schoenberg piano concerto is a good piece to do this with. the first atonal piece i really liked was schoenberg op 11. no 1, which you can somewhat clearly hear him develop his themes (even though it’s not a 12- tone piece), and there are some truly emotional and raw moments in it. just try to not hear the dissonances as “wrong” just think of them as just sounds.
@@michaelwu7678 maybe I'm a little late but I hope I can help anyway. You could try listening to the different harmonies and the absolute beautiful way those chords change and develop. In this work and schönberg in generell there is often a melodic line you could follow. motif and variations do happen especially in his early work (for example op11 drei klavierstücke) it's important to be sensitive to the little changes in "dissonance", to feel the harmonies or the "Klangfarben" (sound colors) as they are called by Stockhausen. They are very important in the music of webern. his opus 27 for example doesn't follow any melodic line. The texture and instrumentation plays a major role in color. A stunning example would be schönberg op 20. The music of Berg is for most people more appealing at first sight than schönberg. Maybe listen to Bergs op2 or his great opera wozzeck. The work that helped me to discover the beauty of schönberg was his op 15 "Buch der hängenden Gärten". If you see this and any information is wrong please correct me. But most importantly:don't treat it as something purely theoretical. It's music and can be enjoyed as such!
Absolutely gorgeous; no wonder Heidegger loved him. Litany Deep is the mourning that overshadows me, Once more I step, Lord, into your house. Long was the journey, weary are the limbs, Empty are the shrines, full though my anguish. The tongue thirsts for wine. Hard-fought was the battle, stiff is my arm. Grant rest to my faltering steps, Hungry lips devour your bread! Weak is my breath that cries out to the dream, Hollow are the hands, feverish the mouth. Lend me shade, douse the blaze, Blot out all hope, banish all light! Embers within my heart still flare upwards, In the deepest depth a cry awakens. Kill that craving, close that wound! Take away from me all love, give me your joy. Rapture I feel the air of another planet. Through the darkness, pallid face, Turn toward me, friendly only just. Trees and paths that I loved fade So that I barely recognise them any more, And you bright beloved shadows-summoners of my anguish- Now you are fully extinguished inside deep embers So that after the frenzied struggling rampage They may appear in a shudder of piety. I am dissolved into sound that circles and weaves With unfathomable thanks and unnamed praise I gladly give myself up to the great breath. A violent gust passes over me In the rapture of the consecration, where fervent cries Plead for worshipping women cast down into the dust: Then I see a fragrant mist rising In a sun-filled, open expanse That embraces only the very farthest mountain peaks. The ground looks white and as soft as whey, I climb over immense ravines. I feel as if above the final cloud Swimming in a sea of crystalline radiance- I am only a spark of the holy fire I am only a roaring of the holy voice.
I think (or at least I read so many years ago) Schönberg had already written some pieces in "free tonality" before. But anyway this work is a good example for the development from tonality to atonality.
J'avais l'habitude d'ignorer la musique classique. Mais alors j'ai découvert et réalisé son pouvoir et ai soudainement eu l'envie de le comprendre. J'ai écouté et écoute encore beaucoup de choses, puis après quelque temps j'ai appris à l'apprécier. Maintenant, la musique classique est l'une de celles que j'écoute le plus ! Cela dit, je ne pense pas que la musique de divertissement soit mauvaise, mais j'aimerais que les gens soient assez curieux pour apprendre à apprécier et "creuser" une très bonne musique qui est classique. C'est assurément tout aussi satisfaisant que la musique de divertissement..................... ;-)
1908, rumors of war on the horizon, industrialism, radical new music. Schoenberg's wife had cheated on him as well which resulted in the man she cheated with committing suicide. It's a chilling line indeed.
Despite the claims of the final movement being in "no key," there are frequent, clear allusions to tonality. The entire coda after the soprano part is in F-sharp, for example.
The quartet starts in extended tonallity of F# minor, then D minor/major, then Eb minor, and ends in the first atonal movement ever composed - in spite of the F# major concluding chord. The work is "cyclic" since most themes and derivatives come from distortion of the first theme of the quartet. There are also traditional contrapunctal features like right/inversion, etc.
That's what I thought.🙄 I wouldn't know a key center from a keyhole. "Sounds" like it is extended beyond any key right from the start. Thanks for the theory Gerard.
@@stueystuey1962 Hi friend! The principles of "extended tonality" and "harmonic regions" are masterly explained in Schoeberg's book "Structural functions of Harmony". Cheers.
I find the phrase totally evocative how Schoenberg might have felt as a man who believed his innovations in composition were the way forward and felt great responsibility for his role in history and in the development of western classical music. The same could be said of the phrase 'O alter duft aus Märchenzeit' in the last song of 'Pierrot Lunaire' (Op.10), which Bernstein suggests hints at a transition from the 'old air' of diatonicism to the 'new air' of free atonality, which we see in the very next composition (i.e. Three little piano pieces Op.11) :D
Deep is the sadness that gloomily comes over me, Again I step, Lord, in your house.Long was the journey, my limbs are weary, The shrines are empty, only anguish is full.My thirsty tongue desires wine. The battle was hard, my arm is stiff.Grudge peace to my staggering steps, for my hungry gums break your bread!Weak is my breath, calling the dream, my hands are hollow, my mouth fevers.Lend your coolness, douse the fires, rub out hope, send the light!Fires in my heart still glow, open, inside my heart a cry wakes.Kill the longing, close the wound! Take my love away, give me you. I feel air from another planet. I faintly through the darkness see faces Friendly even now, turning toward me.And trees and paths that I loved fade So I can scarcely know them and you bright Beloved shadow-summoner of my anguish--Are only extinguished completely in a deep glowing In the frenzy of the fight With a pious show of reason.I lose myself in tones, circling, weaving, With unfathomable thanks and unnamed praise, Bereft of desire, I surrender myself to the great breath.A violent wind passes over me In the thrill of consecration where ardent cries In dust flung by women on the ground:Then I see a filmy mist rising In a sun-filled, open expanse That includes only the farthest mountain hatches.The land looks white and smooth like whey, I climb over enormous canyons. I feel as if above the last cloudSwimming in a sea of crystal radiance-- I am only a spark of the holy fire I am only a whisper of the holy voice.
poetic , strange , like a expressionnist dream in night ,, the city , nobody s talk ,, schoenberg is the genious at the summit ,, the unknows artist , father of berg ,webern ; and so others ,,
Litany Deep is the sadness that gloomily comes over me, Again I step, Lord, in your house. Long was the journey, my limbs are weary, The shrines are empty, only anguish is full. My thirsty tongue desires wine. The battle was hard, my arm is stiff. Grudge peace to my staggering steps, for my hungry gums break your bread! Weak is my breath, calling the dream, my hands are hollow, my mouth fevers. Lend your coolness, douse the fires, rub out hope, send the light! Still active flames are glowing inside my heart; in my deepest insides a cry awakens. Kill the longing, close the wound! Take love away from me, and give me your happiness!
Rapture I feel air from another planet. The faces that once turned to me in friendship Pale in the darkness before me. And trees and paths that I once loved fade away So that I scarcely recognize them, and you bright Beloved shadow-summoner of my anguish- Are now extinguished completely in deeper flames In order, after the frenzy of warring confusion, To reappear in a pious display of awe. I lose myself in tones, circling, weaving, With unfathomable thanks and unnamable praise; Bereft of desire, I surrender myself to the great breath. A tempestuous wind overwhelms me In the ecstasy of consecration where the fervent cries Of women praying in the dust implore: Then I see a filmy mist rising In a sun-filled, open expanse That includes only the farthest mountain retreats. The land looks white and smooth like whey. I climb over enormous ravines. I feel like I am swimming above the furthest cloud In a sea of crystal radiance- I am only a spark of the holy fire I am only a whisper of the holy voice.
The Second Viennese School uses a technique that brings, despite the approach of a late romantic scholastic, in fact the abandonment of tonality brings novelty and original style to Schoenberg's school.
the quote in the beginning is very appropriate. the clarity of his motivic work is pure mozartian classicism. the opening of the first movement sounds like mozart on crack.
@@diegeigergarnele7975 Just pointing out that it's entirely tonal - there's no question about it - in the same way there's no question that bread is food.
"I composed the second and fourth movements of the Second String Quartet, after having already made sketches for the beginnings, in barely three days." Schoenberg
+Harry Andruschak Well, how often do you hear an almost-dodecaphonic work on the radio? The only piece that gets any airtime is perhaps Berg's Violin Concerto.
It's still tonal, though he moves towards atonality in the fourth movement, which like the third also includes a human voice, doubling the shock value. He was such a pioneer!
I happen to have the exact same opinion as you. I feel Schoenberg is a very rhythmic composer, but most people do not. I suspect this is because musical education focuses on already established facts (or supposedly axioms) which blindly mold people's perceptions and many innocently accept them as facts and never question it. Firstly, Schoenberg is mainly known and remembered as a harmonic composer, and also for being the inventor of 12 tone music. He himself contributed much to this image, as he saw his harmonic inventions as his main contribution to western music history, as his main area of interest and he also wrote Harmonielehre, which happens to be one of the greatest harmony theory textbooks in the history of mankind. At the same time, he wrote very little about rhythm, and always saw it as a subsidiary element of melody, harmonic progressions and form, so even he himself didn't seem to see the rhythmic aspect of his music as a driving force and as something worthy of a theory textbook, although it clearly is. Another important thing is that the word "rhythmic" is generally perceived to be synonymous with percussive and somewhat periodic writing as the driving force of the piece, which is a very limited definition. This is why Stravinsky, Bartok and Ligeti are considered rhythmic and Schoenberg is not - because in Schoenberg's case, the rhythms are very complex and are mainly melodic and aperiodic, inherited both from baroque dances and from the highly expressive melodies from 19th century Romanticism. The sum of all of this in a dense polyphony where each voice has its own horizontal development makes the rhythms even richer and more complex than those from the Rite of Spring, for instance (which is known as a rhythmic piece), as the horizontal development of cells and the configurations are very rich and complex, and are varied and heterometric on a micro level. Thus, these configurations and horizontal structures become one of the main propulsive aspects of his music, in his op. 7, op. 9 and 29, for instance.
Schoenberg belongs in the most puzzling category of composer: the good composer who is a very overrated composer. This mainly rather anonymous work itself a puzzle, like him.
Anthony Pasqualetto are you fucking stupid of course otherwise i wouldnt have even come to this video im just saying that to see if anyone else came here because they wanted to listen to this more -_- fuck off also if i wanted likes i do it on a more popular video
Even the last movement is kinda in d minor, but the first 3 movements are very tonal, first movement is almost romantic, albeit very chromatic and consists of constant modulations, the 2nd and 3rd are a little harder to appreciate, the last movement is atonal but there's always a tonal Centre somewhere, lovely piece really, don't know what's the commotion about
This quartet isn't really atonal, just leaning that way. Atonal music was an interesting experiment, but the 1930s idea that once music lovers got used to the idiom, they would love it as much as they love Bach and Beethoven turned out to be wrong. Bernstein pointed out that even bird calls are tonal. Tonality emerges out of nature, which is why we respond to it on a deep emotional, as well as mental, level. Atonal music is an artificial construct, made up by the Second Viennese School composers in their stuffy offices. It has no more purchase on our emotions than algebra or a crossword puzzle does, and its polyphony and structures are usually impossible to follow without a classroom lecture. These compositions express nothing to me but mild anxiety, in slow sections, chaotic hysteria in fast ones, and excruciating boredom overall. An interesting failed experiment, a part of music history, championed by etiolated academics and over-caffeinated music students, but "the music of the future"? More like the Edsel of music history.
If you can't follow the structure of this quartet, chances are you probably can't *really* follow Bach's or Beethoven's music, you just listen to it, and it's pleasing and that's all you need. This quartet is not terribly difficult to follow. Aside from disorienting chromatic harmony, it is somewhat conventional and uses a handful of themes and motives over and over again, in all four movements. You don't need a lecture in order to recognise this, you just need good ear and musical memory.
The final movement is probably Schoenberg's finest moment. "I feel the air of another planet", indeed. It's scary, mysterious, excited, happy, and relieved all at the same time.
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❤😊
@@lowlightpiano7110why? This is Schoenberg?
Schönberg to soprano :
"To me, you are a string."
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❤😊❤❤
@@lowlightpiano7110 what does this have to do with the comment?
@@KaikhosruShapurjiMedtnerjust a bot
@@KaikhosruShapurjiMedtnerI’m pretty sure it’s a bot. It posted an identical message in multiple replies.
@@lowlightpiano7110 Repent and trust in Satan. He's the only way to Hell. We've all antisinned and deserve Heaven. Antisins like antilying, antilusting, etc. Repent and trust only in Satan, and you will be saved! You can be saved because he took the punishment for our antisins on himself when he died on the anticross, just like someone can pay your speeding fine in court, and you get off free.
Romans -3:-23
John -3:-16❤😊❤❤
The whole composition is based upon the first five notes in the first violin, and the way this is turned and twisted in small details and figures throughout all four movements is amazing and masterly done. He does sing me a lot of tunes, but none like Schubert, so here the impression rests upon the totality. Starts with f sharp minor and end up on f sharp major. A romantic gesture.
More like 9
I absolutely love how each new quartet gets more and more tonally ambiguous
There is no tonal ambiguity whatsoever in #3 or #4.
Schoenberg: *marks down a key center*
Also Schoenberg: *doesn't stick to that key center*
Also also Schoenberg: *ends on a tonic chord*
Stonks
Beethoven: marks down a key center
Also Beethoven: doesn't stick to that key center
Also also Beethoven: ends on a tonic chord
there, I fixed it
Same thing with Khachaturian piano concerto.
Did you mean Liszt??
Hindemith
this is a historic masterpiece that made a decisive first step into atonal and is my much favorite work.
It indeed is so good...
Sounds like shlt
Glorious score. One of my greatest musical experiences was performing this as a young cellist.
is it a good piece for beginner cellists
@@CameronGuarino no
@@CameronGuarino Young, not a beginner.
Is it ok to cry of this music? What kind of magic pulls my nerve strings so hard?!
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❤😊
@@lowlightpiano7110 Do you have anything to say about this piece of music?
my initial impression of Schoenberg was WTF, but the more I listen, the more I understand why
Oohhh, THAT the f.
Amazing comment, totally get it
@@mhdfrb9971 🤓
@@mhdfrb9971 I'm not the OC but I think he must have had a very simmilar first experience with Schöenberg:
1. Discover atonal music through the internet.
2. Read about Pierrot Lunaire being a pivotal point in it's development having never listened to Schöenberg.
3. Listen to Pierrot Lunaire.
4. OMG WAHT IZ THIS IT SOUNDZS WEIRD.
5. Never again.
As I understand it, Schöenberg compositions are like cakes made of more and more exotic ingredients (atonality, sprechstimme, serialism...) that you need to get familiarized with individualy. If you don't, then his latter works are going to taste real bitter.
That's why I always recommend listening to his works chronologically. Arnold was a logical man who composed by method, so evolving your understanding of him while his music changes is, for me, a necessity to truly enjoy his later masterpieces.
Hope it helps!
@@signodeinterrogacion8361 Atonal also exist in different culture. Take a look at Japanese Nagauta/Kabuki music
Schoenberg, un poète fabuleux, non seulement inventif, mais capable de nous faire découvrir des émotions inédites du plus profond de notre être. Révélateurs de tout ce que nous avons de plus enfouis, que cela soit apaisant ou inquiétant.
im here for a school report haha I didn't even know this at all, but its soo magical and and its a master piece
It's the first time that I read someone who says that they are listening to a piece for a school report without complaining about it.
Same, 3 years later
@@MarcusHK1 Same
I've been on a Schoenberg spree the past few days.
i’ve been on a schoenberg spree for the last 3 years
Make sure you drink water
@@CameronGuarino How do you get into 12-tone music? I’ve been trying to for a while but to no avail. Instead of listening for motivic or harmonic development, what do you listen for? Like do you keep in mind the tone row for the whole piece and then pick out each instance of inversion, retrograde, and inverse retrograde? I’m just finding it difficult to “understand” a piece in comparison to a Bach fugue or Mozart string quartet.
@@michaelwu7678 it’s almost impossible to discern the tone row and derivations while listening to a piece without examining the score, even for someone with perfect pitch. try looking up the tone row, playing it, then listen for it in the piece. schoenberg piano concerto is a good piece to do this with. the first atonal piece i really liked was schoenberg op 11. no 1, which you can somewhat clearly hear him develop his themes (even though it’s not a 12- tone piece), and there are some truly emotional and raw moments in it. just try to not hear the dissonances as “wrong” just think of them as just sounds.
@@michaelwu7678 maybe I'm a little late but I hope I can help anyway. You could try listening to the different harmonies and the absolute beautiful way those chords change and develop. In this work and schönberg in generell there is often a melodic line you could follow. motif and variations do happen especially in his early work (for example op11 drei klavierstücke) it's important to be sensitive to the little changes in "dissonance", to feel the harmonies or the "Klangfarben" (sound colors) as they are called by Stockhausen. They are very important in the music of webern. his opus 27 for example doesn't follow any melodic line. The texture and instrumentation plays a major role in color. A stunning example would be schönberg op 20.
The music of Berg is for most people more appealing at first sight than schönberg. Maybe listen to Bergs op2 or his great opera wozzeck. The work that helped me to discover the beauty of schönberg was his op 15 "Buch der hängenden Gärten". If you see this and any information is wrong please correct me.
But most importantly:don't treat it as something purely theoretical. It's music and can be enjoyed as such!
Absolutely gorgeous; no wonder Heidegger loved him.
Litany
Deep is the mourning that overshadows me,
Once more I step, Lord, into your house.
Long was the journey, weary are the limbs,
Empty are the shrines, full though my anguish.
The tongue thirsts for wine.
Hard-fought was the battle, stiff is my arm.
Grant rest to my faltering steps,
Hungry lips devour your bread!
Weak is my breath that cries out to the dream,
Hollow are the hands, feverish the mouth.
Lend me shade, douse the blaze,
Blot out all hope, banish all light!
Embers within my heart still flare upwards,
In the deepest depth a cry awakens.
Kill that craving, close that wound!
Take away from me all love, give me your joy.
Rapture
I feel the air of another planet.
Through the darkness, pallid face,
Turn toward me, friendly only just.
Trees and paths that I loved fade
So that I barely recognise them any more,
And you bright beloved shadows-summoners of my anguish-
Now you are fully extinguished inside deep embers
So that after the frenzied struggling rampage
They may appear in a shudder of piety.
I am dissolved into sound that circles and weaves
With unfathomable thanks and unnamed praise
I gladly give myself up to the great breath.
A violent gust passes over me
In the rapture of the consecration, where fervent cries
Plead for worshipping women cast down into the dust:
Then I see a fragrant mist rising
In a sun-filled, open expanse
That embraces only the very farthest mountain peaks.
The ground looks white and as soft as whey,
I climb over immense ravines.
I feel as if above the final cloud
Swimming in a sea of crystalline radiance-
I am only a spark of the holy fire
I am only a roaring of the holy voice.
what is this? It's beautiful
@@davehatton3067 it's the soprano vocals translated from the 3rd movement Litany and the 4th Rapture
i love the beautifully majestic ending to the piece
I'm here because of love
the start of the fourth movement is magical
the start of the fourth movement is atonal
The finale of this quartet is sometimes considered as the beginning of atonality...
I think (or at least I read so many years ago) Schönberg had already written some pieces in "free tonality" before. But anyway this work is a good example for the development from tonality to atonality.
J'avais l'habitude d'ignorer la musique classique. Mais alors j'ai découvert et réalisé son pouvoir et ai soudainement eu l'envie de le comprendre. J'ai écouté et écoute encore beaucoup de choses, puis après quelque temps j'ai appris à l'apprécier. Maintenant, la musique classique est l'une de celles que j'écoute le plus ! Cela dit, je ne pense pas que la musique de divertissement soit mauvaise, mais j'aimerais que les gens soient assez curieux pour apprendre à apprécier et "creuser" une très bonne musique qui est classique. C'est assurément tout aussi satisfaisant que la musique de divertissement..................... ;-)
Vous pouvez écouter Stravinsky et Hindemith. Leurs musique est tonals mais non diatonique, alors ils produisent très moderne son
"Ich fuhle luft von anderem planeten." What a chilling line.
1908, rumors of war on the horizon, industrialism, radical new music. Schoenberg's wife had cheated on him as well which resulted in the man she cheated with committing suicide. It's a chilling line indeed.
It goes well with atonal music
Despite the claims of the final movement being in "no key," there are frequent, clear allusions to tonality. The entire coda after the soprano part is in F-sharp, for example.
The quartet starts in extended tonallity of F# minor, then D minor/major, then Eb minor, and ends in the first atonal movement ever composed - in spite of the F# major concluding chord. The work is "cyclic" since most themes and derivatives come from distortion of the first theme of the quartet. There are also traditional contrapunctal features like right/inversion, etc.
That's what I thought.🙄 I wouldn't know a key center from a keyhole. "Sounds" like it is extended beyond any key right from the start. Thanks for the theory Gerard.
@@stueystuey1962 Hi friend! The principles of "extended tonality" and "harmonic regions" are masterly explained in Schoeberg's book "Structural functions of Harmony". Cheers.
Franz Liszt was before
22:33 'Ich fühle luft von anderem planeten' !!
What a great moment right!
I find the phrase totally evocative how Schoenberg might have felt as a man who believed his innovations in composition were the way forward and felt great responsibility for his role in history and in the development of western classical music.
The same could be said of the phrase 'O alter duft aus Märchenzeit' in the last song of 'Pierrot Lunaire' (Op.10), which Bernstein suggests hints at a transition from the 'old air' of diatonicism to the 'new air' of free atonality, which we see in the very next composition (i.e. Three little piano pieces Op.11) :D
Thank you olla-vogala. Excellent!
What an amazingly inventive genius Schoenberg was.
Schoenberg is the Christ(founder) of contemporary music(atonal music).
Deep is the sadness that gloomily comes over me,
Again I step, Lord, in your house.Long was the journey, my limbs are weary,
The shrines are empty, only anguish is full.My thirsty tongue desires wine.
The battle was hard, my arm is stiff.Grudge peace to my staggering steps,
for my hungry gums break your bread!Weak is my breath, calling the dream,
my hands are hollow, my mouth fevers.Lend your coolness, douse the fires,
rub out hope, send the light!Fires in my heart still glow, open,
inside my heart a cry wakes.Kill the longing, close the wound!
Take my love away, give me you.
I feel air from another planet.
I faintly through the darkness see faces
Friendly even now, turning toward me.And trees and paths that I loved fade
So I can scarcely know them and you bright
Beloved shadow-summoner of my anguish--Are only extinguished completely in a deep glowing
In the frenzy of the fight
With a pious show of reason.I lose myself in tones, circling, weaving,
With unfathomable thanks and unnamed praise,
Bereft of desire, I surrender myself to the great breath.A violent wind passes over me
In the thrill of consecration where ardent cries
In dust flung by women on the ground:Then I see a filmy mist rising
In a sun-filled, open expanse
That includes only the farthest mountain hatches.The land looks white and smooth like whey,
I climb over enormous canyons.
I feel as if above the last cloudSwimming in a sea of crystal radiance--
I am only a spark of the holy fire
I am only a whisper of the holy voice.
Masterpiiece
fucking cringe
Beautiful
"Masterpiece", "Fucking cringe" - Ah yes, the duality of man.
Idk how old German poetry is cringe but go off
There is a mistake in bar 67 of the second movement. The cello plays a D an octave lower than the one written... I want a refund.
Get outta my face Buck Rogers
0:56 is so beautiful, I love that D Minor modulation
I love the fourth movement ! ^^
This is so beautiful music .... no words ... perfekt Klassizismus.
I like this a lot.
This song made me cry.
poetic , strange , like a expressionnist dream in night ,, the city , nobody s talk ,, schoenberg is the genious at the summit ,, the unknows artist , father of berg ,webern ; and so others ,,
Какое вступление!!! Какой квартет!!! Какой Шёнберг!!!
Masterpiece
4악장 19:50
성악 22:05
22:35
Ms Lear has an absolutely flawless voice.
Makes my teeth itch.
But that's impossible, just like atonality!
that seems like an honest reaction perfectly framed. it's pretty tense at times.
The power of expressionism.
Una meraviglia.
Incredible and moving piece. I can definitely hear the vestiges of Mozart.
❤❤❤gorgeous, i am much inspired with this music...so i make my 6 Rustam songs, for Mezzo Soprano and string quartet...(diqi, java, indonesia)
the soprano really caught me off guard
Thank you !
I still enjoy classical music!
That's great.
@@segmentsAndCurves I also think so.
Litany
Deep is the sadness that gloomily comes over me,
Again I step, Lord, in your house.
Long was the journey, my limbs are weary,
The shrines are empty, only anguish is full.
My thirsty tongue desires wine.
The battle was hard, my arm is stiff.
Grudge peace to my staggering steps,
for my hungry gums break your bread!
Weak is my breath, calling the dream,
my hands are hollow, my mouth fevers.
Lend your coolness, douse the fires,
rub out hope, send the light!
Still active flames are glowing inside my heart;
in my deepest insides a cry awakens.
Kill the longing, close the wound!
Take love away from me, and give me your happiness!
I'm here because Schoenberg is a genius.
You shouldn't believe everything Schoenberg said.
@@palladin331 ok
@@palladin331 The person who believed became a believer in contemporary music (atonal music).
And Bach is even more genius!
@@mhdfrb9971 🤓
Rapture
I feel air from another planet.
The faces that once turned to me in friendship
Pale in the darkness before me.
And trees and paths that I once loved fade away
So that I scarcely recognize them, and you bright
Beloved shadow-summoner of my anguish-
Are now extinguished completely in deeper flames
In order, after the frenzy of warring confusion,
To reappear in a pious display of awe.
I lose myself in tones, circling, weaving,
With unfathomable thanks and unnamable praise;
Bereft of desire, I surrender myself to the great breath.
A tempestuous wind overwhelms me
In the ecstasy of consecration where the fervent cries
Of women praying in the dust implore:
Then I see a filmy mist rising
In a sun-filled, open expanse
That includes only the farthest mountain retreats.
The land looks white and smooth like whey.
I climb over enormous ravines.
I feel like I am swimming above the furthest cloud
In a sea of crystal radiance-
I am only a spark of the holy fire
I am only a whisper of the holy voice.
19:50. I love it!!!
The Second Viennese School uses a technique that brings, despite the approach of a late romantic scholastic, in fact the abandonment of tonality brings novelty and original style to Schoenberg's school.
the quote in the beginning is very appropriate. the clarity of his motivic work is pure mozartian classicism. the opening of the first movement sounds like mozart on crack.
11:10 *W A T*
O du lieber Augustin
ㅅㅂㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋ 개웃기다
19:51 4th mov.
22:33 absolutely bonechilling.
création prodigieuse qui exhale le mystère , la profondeur , une brisure essentielle de la forme telle que beethoven l avait réalisé en son temps ,
“나는 다른 혹성의 대기를 느낀다.”
totally wasnt expecting the voice ;o scared me lol
Isn't it wild? And the Stefan Georg poem Schoenberg quotes in the fourth movement begins, "I feel the air of other planets." Yes he did indeed!
Let's not forget that Schoenberg certainly could write good tonal music; that's why he was a teacher .
This is pratically tonal music... so much f sharp
It's completely tonal
@@diegeigergarnele7975 the same way that bread is practically food.
Sorry if I'm dumb but I don't get the point of the amswer
@@diegeigergarnele7975 Just pointing out that it's entirely tonal - there's no question about it - in the same way there's no question that bread is food.
19:50 4악장 : 1908 조성을 느끼기 힘든 음악을 선보임
소프라노 "나는 혹성의 대기를 느낀다"
do you feel it mr.krabs? do you feel it? (the death of tonality)
la soprano puede morirse tranquila despues de cantar esto. Menuda locura para ella!!!
que loco
AAAAAAAAAAAAAAAA muy tostaaaao
This man was born 10 years after the civil war and lived to see the first atomic bomb used in wartime.
...and Jean Sibelius was born 9 years before Schönberg and died 6 years after him.
19:50 - IV. "Entrückung", sehr langsam ("Rapture", very slow), No key
Sublime
"I composed the second and fourth movements of the Second String Quartet, after having already made sketches for the beginnings, in barely three days." Schoenberg
Hi emanuel
@@nicomatf hi
22:40 4악장 성악 성부(mov 4 vocal)
gut
I have never heard this in a live performance or over the radio. This where Schoenberg began to lose many listeners.
+Harry Andruschak Well, how often do you hear an almost-dodecaphonic work on the radio? The only piece that gets any airtime is perhaps Berg's Violin Concerto.
+olla-vogala Almost dodecaphonic???
This is still tonal, baby
It's still tonal, though he moves towards atonality in the fourth movement, which like the third also includes a human voice, doubling the shock value. He was such a pioneer!
ウイーンのクラシック音楽界で村八分にされて、仕方なくベルリンへ行きキャバレー・オーケストラのアレンジャー兼指揮者の仕事で生活した
不本意な仕事の反動から、超難解な現代音楽を作った
Best title for this piece is 'Anxiety'
Grammar
@@GUILLOM I'm not a native english speaker. Sorry
@@mhdfrb9971 🤓
esta musica es perfectamente tonal
Evrim ağacı..
My friend called this piece "Five Angry Cats in a Box". lol
lmao
名品
全体的に浄夜みたい
後期ロマン派の響き
表現主義は後期ロマン波です。
浄夜みたいな曲
一生、こうした作風の曲を作ってほしかった
19:52 4악장
최초로 무조성이 분명해진 악곡 (mov 4)
4악장.. 무조성이 처음 나타난 음악
인정..현대음악의 본격적인 막
@@casual_human Yes
Mi ricorda gli Shepard Tone
최초로 무조성이 분명하게 드러나는 작품 중 4악장
: 19:52
이례적으로 성악성부가 첨가됨 (나는 다른 혹성의 대기를 느낀다)
: 22:35
22:30
19:57 Mental Images
22:34 4악장 소프라노 부분
2:53
I'm here because of "Helpinki formula", an episode from Pinky and the brain.
I can barely make out the worda in this recording. That's my only real complaint.
It's like all the parts have the same task but are in a mild disagreement in how to go about it :)
mild?
@@garrysmodsketches mild
How is this possible?
19:50 제 4악장
He owes quite a bit to Satie too!
Hell no
Why doesn't anybody pays attention to his use of rhythm?
Because they pay too much attention to criticising/praising his atonality.
What so special about the rhythm?
@@mhdfrb9971 🤓
I happen to have the exact same opinion as you. I feel Schoenberg is a very rhythmic composer, but most people do not. I suspect this is because musical education focuses on already established facts (or supposedly axioms) which blindly mold people's perceptions and many innocently accept them as facts and never question it.
Firstly, Schoenberg is mainly known and remembered as a harmonic composer, and also for being the inventor of 12 tone music. He himself contributed much to this image, as he saw his harmonic inventions as his main contribution to western music history, as his main area of interest and he also wrote Harmonielehre, which happens to be one of the greatest harmony theory textbooks in the history of mankind. At the same time, he wrote very little about rhythm, and always saw it as a subsidiary element of melody, harmonic progressions and form, so even he himself didn't seem to see the rhythmic aspect of his music as a driving force and as something worthy of a theory textbook, although it clearly is.
Another important thing is that the word "rhythmic" is generally perceived to be synonymous with percussive and somewhat periodic writing as the driving force of the piece, which is a very limited definition. This is why Stravinsky, Bartok and Ligeti are considered rhythmic and Schoenberg is not - because in Schoenberg's case, the rhythms are very complex and are mainly melodic and aperiodic, inherited both from baroque dances and from the highly expressive melodies from 19th century Romanticism.
The sum of all of this in a dense polyphony where each voice has its own horizontal development makes the rhythms even richer and more complex than those from the Rite of Spring, for instance (which is known as a rhythmic piece), as the horizontal development of cells and the configurations are very rich and complex, and are varied and heterometric on a micro level. Thus, these configurations and horizontal structures become one of the main propulsive aspects of his music, in his op. 7, op. 9 and 29, for instance.
Schoenberg belongs in the most puzzling category of composer: the good composer who is a very overrated composer. This mainly rather anonymous work itself a puzzle, like him.
00:09
Who's here because of Professor Fitts ? 😂😂
29:19 29:24 29:25
im here because of gmm XD
Who cares? You're just trying to get likes. Do you even enjoy this music?
Anthony Pasqualetto are you fucking stupid of course otherwise i wouldnt have even come to this video im just saying that to see if anyone else came here because they wanted to listen to this more -_- fuck off also if i wanted likes i do it on a more popular video
I'm here too from gmm
:)
komakozeee same
Are the first three really tonal??
Even the last movement is kinda in d minor, but the first 3 movements are very tonal, first movement is almost romantic, albeit very chromatic and consists of constant modulations, the 2nd and 3rd are a little harder to appreciate, the last movement is atonal but there's always a tonal Centre somewhere, lovely piece really, don't know what's the commotion about
19:50
Old houses ghosts
This quartet isn't really atonal, just leaning that way. Atonal music was an interesting experiment, but the 1930s idea that once music lovers got used to the idiom, they would love it as much as they love Bach and Beethoven turned out to be wrong. Bernstein pointed out that even bird calls are tonal. Tonality emerges out of nature, which is why we respond to it on a deep emotional, as well as mental, level. Atonal music is an artificial construct, made up by the Second Viennese School composers in their stuffy offices. It has no more purchase on our emotions than algebra or a crossword puzzle does, and its polyphony and structures are usually impossible to follow without a classroom lecture. These compositions express nothing to me but mild anxiety, in slow sections, chaotic hysteria in fast ones, and excruciating boredom overall. An interesting failed experiment, a part of music history, championed by etiolated academics and over-caffeinated music students, but "the music of the future"? More like the Edsel of music history.
If you can't follow the structure of this quartet, chances are you probably can't *really* follow Bach's or Beethoven's music, you just listen to it, and it's pleasing and that's all you need. This quartet is not terribly difficult to follow. Aside from disorienting chromatic harmony, it is somewhat conventional and uses a handful of themes and motives over and over again, in all four movements. You don't need a lecture in order to recognise this, you just need good ear and musical memory.
쇤베르크 현악4중주 2번 4악장
22:34