Stokowski starts out jubilant and happy. And he follows up with pure romanticism but never loses the underlying warmth. That makes it in my opinion an authentic interpretation. No conceit, no artificial depth, no added meaning that is not really there. A lovely story is told. I can give myself over to it and never have to be afraid of being mislead or manipulated - even if it may be close to kitsch. All feels sincere and real. Ok, it just may be too good to be true. My soft side likes it a lot. It makes me feel good. :-)
I. Grave 00:00 - 1 10:49 --- 14, sist 2, comp 2 II. Animato - 6 06:27 último sistema 08:46 -- Último sistema cambio de métrica (segunda estrofa, posiblemente)% 10:32. III. Pesante Grave - 15 12:40 % IV. Meno mosso - 22 18:01 V. Poco adagio - 26 20:4622:18 - 28, silencio del último sistema VI. Adagio - 33 24:00 , Sistema 1, tutti
It's really kind a like he transformed all in the classics into Hollywood music certainly not for the worst. I bow my head in front of his genius. Marvelous
I am generally not a fan of Shoenberg, but I love this particular piece. I think Stokowski brings out many details in orchestration and harmony that many other conductors missed. I know there are two camps on Stokowski, some who think he took too many liberties with the written score, and those agreed with him that there is only so much you can put down on a printed page and hope that the conductor is able to understand the unstated nuances and "soul" of the piece. I mostly agree with Stokowski's opinion (although I still have problems with A VERY FEW recordings he made). However, this Shoenberg recording is fantastic. I must also recommend his performance of the finale of Tchaikovsky's fourth symphony wherein he takes drastic liberties with the tempi, but, I'm sorry, he turned the finale into the best version I've ever heard. He slows it down, he speeds it up, but in the end, I have never heard a more passionate performance of this piece. ruclips.net/video/zy71p4zgfoo/видео.html
How many orchestral passages in Wagner come near to this? Several in Tristan, however beyond that... BTW, people here are raving about this recording, which is not at all bad. But a few days ago I heard a partial recording conducted by Schoenberg himself in the late 1920s which really opened my eyes. It has so much more tension -- and power.
I heard he would dislike the use the word atonal and would prefer it to be called pantonal. But this is before he started getting into serialist compositions.
Dos personas caminan a través de un desnudo bosque frío; La luna corre sobre ellos, se miran en ella. La luna corre sobre los altos robles; ni una nube oscurece la luz del cielo adonde las negras ramas se extienden. La voz de una mujer habla: “Llevo un niño, y no de ti, camino en pecado junto a ti, he cometido una gran ofensa contra mí misma. Yo ya no creía que pudiese ser feliz, y sin embargo, tenía el fuerte deseo del fruto de vida, de la felicidad de ser madre y de deber, así cometí un descaro, así, temblando, entregué mi sexo a los brazos de un hombre extraño, e incluso quedé embarazada. Ahora la vida se ha vengado: Ahora, oh a ti, te he encontrado.” Ella camina con paso torpe. Levanta la vista; la luna corre sobre ellos. Sus ojos oscuros se ahogan en la luz. La voz de un hombre habla: “El niño que has recibido, que no cargue sobre tu alma. Solo mira ¡cuán claro brilla el universo! Hay un resplandor sobre todas las cosas; tú flotas junto a mí en mar frío, pero un calor especial parpadea desde ti hacia mí, desde mí hacia ti. Ese transfigurará al niño, a mí, de mí me lo nacerás. por ti me ha entrado el resplandor, has hecho un niño de mí mismo.” Él posa su mano en sus anchas caderas. Sus alientos se entremezclan [o se besan] en el aire. Dos personas caminan a través de la alta noche luminosa.
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One of the greatest musicians performs one of the finest chef-d'oeuvres of one of the greatest composers ever.
thanks a million, friend.
I like this Stokowski lush interpretation, which makes me feel like I am in a Klimt!
This is one of my favorite pieces of music. Unforgettable.
Stokowski starts out jubilant and happy. And he follows up with pure romanticism but never loses the underlying warmth. That makes it in my opinion an authentic interpretation. No conceit, no artificial depth, no added meaning that is not really there. A lovely story is told. I can give myself over to it and never have to be afraid of being mislead or manipulated - even if it may be close to kitsch. All feels sincere and real. Ok, it just may be too good to be true. My soft side likes it a lot. It makes me feel good. :-)
Love this work and its early Schoenberg but marvelous conception just the same.
Magical!
Thanks for putting this up. One of the very best interprets one of the very finest.
14:30 is the most beautiful thing I have ever heard
Stokowski gets it all - such a beautiful work.
Stokowski (and the recording) make the performance wonderfully cogent.
This ain't mono
Don Irvine Thanks,I've edited my comment.Great music and conducting.
Great 1957 recording -- as good as anything RCA or Mercury were coming up with at the time
sublime reading. many thanks.
Very beautiful.
I love Schoenberg's expressionist works, even his early 12 tone works!
I. Grave 00:00 - 1 10:49 --- 14, sist 2, comp 2
II. Animato - 6 06:27 último sistema 08:46 -- Último sistema cambio de métrica (segunda estrofa, posiblemente)% 10:32.
III. Pesante Grave - 15 12:40 %
IV. Meno mosso - 22 18:01
V. Poco adagio - 26 20:46 22:18 - 28, silencio del último sistema
VI. Adagio - 33 24:00 , Sistema 1, tutti
It's really kind a like he transformed all in the classics into Hollywood music certainly not for the worst. I bow my head in front of his genius. Marvelous
great piece.
I am generally not a fan of Shoenberg, but I love this particular piece. I think Stokowski brings out many details in orchestration and harmony that many other conductors missed. I know there are two camps on Stokowski, some who think he took too many liberties with the written score, and those agreed with him that there is only so much you can put down on a printed page and hope that the conductor is able to understand the unstated nuances and "soul" of the piece. I mostly agree with Stokowski's opinion (although I still have problems with A VERY FEW recordings he made). However, this Shoenberg recording is fantastic.
I must also recommend his performance of the finale of Tchaikovsky's fourth symphony wherein he takes drastic liberties with the tempi, but, I'm sorry, he turned the finale into the best version I've ever heard. He slows it down, he speeds it up, but in the end, I have never heard a more passionate performance of this piece.
ruclips.net/video/zy71p4zgfoo/видео.html
Thank you for the info.
Merci.
Sounds really good !
Demasiado hermoso cuenta una historia
21:32
I like the silent movie feeling of this interpretation.
astonishing
SUBLIME
Why would the influence of Wagner detract from Schoenberg's greatness?
Unbelievable Humans :)
All these music majors and aficionados and I'm just sitting here.
Schoenberg was about 25 when he wrote this. He was young, and still very much influenced by Wagner. His 12 Tones were still off in the future.
How many orchestral passages in Wagner come near to this? Several in Tristan, however beyond that... BTW, people here are raving about this recording, which is not at all bad. But a few days ago I heard a partial recording conducted by Schoenberg himself in the late 1920s which really opened my eyes. It has so much more tension -- and power.
At first hard to believe this is even Schoenberg.
When was this recorded?
23 & 24 August 1957
@@doninvictoria Thanks a lot, really
I heard he would dislike the use the word atonal and would prefer it to be called pantonal. But this is before he started getting into serialist compositions.
Dos personas caminan a través de un desnudo bosque frío;
La luna corre sobre ellos, se miran en ella.
La luna corre sobre los altos robles;
ni una nube oscurece la luz del cielo
adonde las negras ramas se extienden.
La voz de una mujer habla:
“Llevo un niño, y no de ti,
camino en pecado junto a ti,
he cometido una gran ofensa contra mí misma.
Yo ya no creía que pudiese ser feliz,
y sin embargo, tenía el fuerte deseo
del fruto de vida, de la felicidad de ser madre
y de deber, así cometí un descaro,
así, temblando, entregué mi sexo
a los brazos de un hombre extraño,
e incluso quedé embarazada.
Ahora la vida se ha vengado:
Ahora, oh a ti, te he encontrado.”
Ella camina con paso torpe.
Levanta la vista; la luna corre sobre ellos.
Sus ojos oscuros se ahogan en la luz.
La voz de un hombre habla:
“El niño que has recibido,
que no cargue sobre tu alma.
Solo mira ¡cuán claro brilla el universo!
Hay un resplandor sobre todas las cosas;
tú flotas junto a mí en mar frío,
pero un calor especial parpadea
desde ti hacia mí, desde mí hacia ti.
Ese transfigurará al niño,
a mí, de mí me lo nacerás.
por ti me ha entrado el resplandor,
has hecho un niño de mí mismo.”
Él posa su mano en sus anchas caderas.
Sus alientos se entremezclan [o se besan] en el aire.
Dos personas caminan a través de la alta noche luminosa.
the only 'popular' piece arnie every wrote
I can't believe this was written by Schoenberg.
Is this not abslutely sublime?
Schoenberg doing Wagner. This is crazy
Wagner.
Weber