Israeli Chamber Project | Schoenberg: Pierrot Lunaire. Complete
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- Опубликовано: 28 июн 2016
- Israelichamberproject.org israeli.chamber.project
Hila Baggio, Soprano; Guy Eshed, Flute; Tibi Cziger, Clarinet; Daniel Bard, Violin/Viola; Michal Korman, Cello; Assaff Weisman, Piano
Shirit Lee Weiss, Director
Live performance at Elma Auditorium, Israel. March, 2016
Yoel & Elisabeth Culiner, video production
Yaron Aldema & Rafi Eshel, sound recording 
Видеоклипы
Spectacular! Never a fan of Shoenberg, atonality, or Sprechstimme, I was fully prepared to loathe this, but this was gorgeous and emotive, and better than I could have possibly imagined. Hila Baggio is divine, and all of the players give such an emotional reading - I think I may finally understand how atonality and Sprechstimme work when properly done!
Steve - We can't tell you how thrilled we are to have made you a fan of this piece. We love it, too, and look forward to bringing this production to more cities. We hope to see you at one of our concerts! Check out our schedule and mailing list at israelichamberproject.org, and like us on facebook - facebook.com/israeli.chamber.project
Cheers!
the singer i'm playing it with seems to think it's tonal...
Schoenberg was a traditionalist who started out as a late romantic (the Gurrelieder, Pelleas und Melisande, the Gurre-Lieder) and viewed what he was doing as a natural extension of that type of music. Schoenberg himself did not like the term "atonality" -- after all, almost all music employs tones; it's only a question of how those tones are ordered and arranged. With their explorations of chromaticism the late romantic composers (Mahler, for example, but also Bruckner and Debussy) began to break away from the notion that music should be based on sonata structure (certainly the 19th century norm) and writing major and minor scales and pretending that they were writing music. Schoenberg broke away from the idea that scales were music, and thus did western music a great service.
@@adsertheblade Schoenberg tried more informal kinds atonal writing before systematizing atonality with his "12-tone method". Pierrot Lunaire belongs to this transitional period, so your singer is correct that this isn't a 12-tone work, but it is atonal nevertheless.
שנברג הוא אחד המלחינים המיוחדים ביותר, וזה אחד הביצועים המיוחדים ויחודים ששמעתי.
תודה רבה 🙏
This is possibly the best PIERROT LUNAIRE I've ever seen. The instrumental playing and the rendering of the Sprechstimme is precise beyond belief yet projects the necessary sense of abandon and spontaneity perfectly.
Thank you! It sounds like you enjoyed listening/watching it as much as we enjoyed playing it.
im so happy i could find it subtitled
הפקה מדהימה !!!הילה בג'יו משחקת ושרה, כמו בחלום !!! לא מהעולם הזה !!! נהדרת!!! שילוב מושלם בין הנגנים המעולים והשירה, הנוגעת עד לעמקי הנשמה, באיכותו ויופיו !!!! קשה לא להתפעל מאיכות הביצוע, אחד ויחיד !!!
Rachel Suranyi תודה! תוכלי לשמוע ולראות את ההפקה הזאת שוב ביום שישי (23) בירושלים www.imj.org.il/node/266446
בוודאי שאני אהיה שם
Just amazing. One of the best versions I've heard.
Thank you, Thomas!
I never took the time to listen to that piece in its entirety. Thanks to you, I finally did it! Awesome interpretation BTW!
Thanks for listening, Stéphane!
What a performance! And what a performance by Hila Baggio in particular. I've had many recordings of Pierrot Lunaire since I fell in love with it as a student, but none that I prefer to this one. Part of it is the visual dimension which rewards Baggio's melodrama. A restrained performance can work very well in an audio-only format but in a visual format Baggio's emoting and physicality adds a lot. Part of what makes this performance special is that Beggio has memorized the text, so her performance is fully interactive with the other musicians and the audience instead of focusing her attention on the printed score.
Thanks so much, Kenneth! We’re thrilled you enjoyed this.
my new years resolution is to start getting into opera - and this is my first attempt of doing so. however I have no background knowledge on such a magnificent art, I know enough to say this: the performance was an immersive and passionate masterpiece. I can definitely see myself watching more operas because of this gorgeous start. thank you for sharing!
We’re happy to have helped you with your very worthy resolution. Thanks for listening and happy new year!
In my opinion, the best version ever, sung with a perfect balance between melody and speech, without an exaggerated dramatic tone nor excess vibrato, was the one recorded by Helga Pilarczyk with a chamber ensemble conducted by Pierre Boulez (such record might be 40 years old, not sure). But this one is surely the second best. Thanks for posting.
So glad you enjoyed this performance, Rafael! Thanks for the warm words.
Helga Pilarczyk's version, which for me too has always been a landmark, is available on RUclips in 21 installments.
Love this performance, thank you for posting.
Thank you for listening!
This is a brilliant version! Thanks for uploading!
Thank you for listening!
הפקה נהדרת! תודה רבה!!!
תודה!
Wow! What a stunning performance. Wow.
Thank you, Maestro!
Spectacular performance! Bravo!
Thanks, Gary!
Amazing!!!!! Bravo!!!
Thank you!
Absolutely fabulous!!
Thank you!
This is beautiful!
It's fine I'm watching it for a test
Wonderful!!
Thank you, Howard!
I love it!
Thank you, Martin!
PRIMOR! de interpretação e propriedade do material de seu autor compositor.
Bravo!
Obrigado, Dailton!
@@icp Grato! Muito bom mesmo está versão. Vou divulgar.
remarquable prestation de Hila Baggio, par coeur, avec tant d'expression, tant d'expressivités différentes ! Parfois un peu trop "chanté". Belle mise en scène, très belle prise vidéo !
Merci Gérard!
It's badass. I wonder if it's the same presentation used when it debuted in a Berlin cabaret in 1910. It kind of lacks Schoenberg's bitter sarcasm, but the angst is right on.
Thanks for having a listen!
Pierrot’s transformations (the numbers refer to verses)
5. Fatally ill.
6-9. Dies.
10. Resurrected but as a darker self.
10-11. No longer a dandified lover of verses (1-3) but a prince of darkness.
He is therefore executed, twice.
12. Executed by hanging.
13. Executed by beheading .
14. He is resurrected by holy verses.
15. No longer a prince of darkness but "modern sentimental."
Sentimental but not sensitive:
16. He uses Cassander's head as a tobacco pipe.
19. He uses Cassander's bald spot as a viola.
21. He Finally achieves peace and reconciliation:
• Returns home to Bergamo (cf. verse 3)
• Reunited with his childhood (O alter Duft aus Märchenzeit, "O ancient scent from fairy tale days").
The way Pierrot's transformations take him through opposite conditions only to return home, suggests the proverb, "The longest way round is the shortest way home". As T.S. Eliot says in "Little Gidding":
We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Как интересно слушать "Лунный Пьеро" в разных исполнениях потому что партия голоса - это "фиксированная алеаторика". Объясняю мой оксюморон предисловием самого автора.
"Мелодия, указанная в партии голоса нотами, не предназначена для пения (кроме отдельных, особо отмеченных исключений). Исполнитель стоит перед задачей превратить ее в речевую мелодию (Sprechmelodie), хорошо принимая во внимание обозначеннуобозначенную высоту звуков. Это осуществляется тогда, когда он выдерживает ритм так точно, как будто он поет, со свободой не большей, чем допустима в песенной мелодии;
точно понимает различие между певческим и речевым звуков: вокальный звук неизменно твердо удерживает точную высоту, а речевой, едва ее обозначив, тут же покидает, повышаясь или понижаясь.
Исполнитель должен остерегаться манеры произнесения «нараспев». Это абсолютно не имелось в виду. Однако ни в коем случае не следует стремиться к реалистически-натуральной речи. Напротив, различие между речью обычной и сопряженной с музыкальной формой должно быть отчетливым. Но никогда это не должно напоминать пение.
В остальном об исполнении нужно сказать следующее.
Исполнители никогда не должны выводить здесь настроение и характер отдельных пьес из смысла слов, а всегда исключительно из музыки. В той мере, в какой автор стремился к звукоизображению содержащихся в тексте событий и эмоций, они получили воплощение в музыке. Если исполнителю этого недостаточно, он все же не должен добавлять что-либо, чего автор не хотел. Он должен не давать, а брать."
Арнольд Шёнберг
У меня только от чтения этих требований голова пошла кругом. А каково певцам? Не случайно перед премьерой Шенберг провёл 100 (сто0оо!)репетиций! Но всё равно был провал...Некоторые слушатели считали такое исполнение проявлением непрофессионализма актрисы♪
Спасибо. Теперь я понял, как это нужно слушать.
@@beerus1 Расскажите хоть тем кто не понял=). По простому.
sodelicious...🙂
14:17
Será ésta la semilla de la que nació Nina Hagen?
Complete insanity. I hate it
An excellent performance of an un-musical work.
Thank you for taking the time to listen, Michael.
14:15
14:14