For the past decade, I’ve wondered how to describe or even think about Alban Berg’s “Three Pieces for Orchestra, Op. 6”. It’s more different than any other music I’ve ever known or loved. Over the years I ended up with four different versions of this on CD and I never tire of it. Michael Tilson Thomas verbally described what I’ve always thought of this piece as right on the “edge” .... as far as you can go within music before you start to lose sanity. I love this piece. It’s the most darkly “atmospheric” thing I’ve ever heard in my life and it can only be felt, as he perfectly describes leading to “attractive but ultimately very destructive places”.
For the past decade, I’ve wondered how to describe or even think about Alban Berg’s “Three Pieces for Orchestra, Op. 6”. It’s more different than any other music I’ve ever known or loved. Over the years I ended up with four different versions of this on CD and I never tire of it.
Michael Tilson Thomas verbally described what I’ve always thought of this piece as right on the “edge” .... as far as you can go within music before you start to lose sanity. I love this piece. It’s the most darkly “atmospheric” thing I’ve ever heard in my life and it can only be felt, as he perfectly describes leading to “attractive but ultimately very destructive places”.
I have not heard this piece before, but the way MTT introduces it make me feel that I've got to go listen to it..
MTT has a wonderful way with words.
Karl Boehm should have made him rewrite some of the parts. It's not a favourite piece for trombonists.
Boo! Why sit at the piano but not give any musical examples? (And I'm not counting your singing as such!)