Cette musique est absolument somptueuse....richesse du discours mélodique, harmonies à couper le souffle, orchestration sans cesse renouvelée dans l’utilisation des timbres de l'orchestre, bref une babylonienne architecture sonore érigée par d’humbles et immenses compositeurs-interprètes ! Ce compositeur hors-normes a créé un nouvel univers sonore et chaque interprétation est la création unique d'un univers indépendant, c’est si naturel
Babylonien en effet! Excellent commentaire... Cela me fait penser à la célèbre remarque de Douanier Rousseau à un certain Pablo Picasso : "Moi je suis le plus grand peintre moderne du monde, et vous : vous êtes le plus grand peintre d'égypt antique de notre temps!"
Thanks for it. Once I thought, that this interpretation is not such good as Lasalle Quartet's, but now I know, that they're incomparable. Schoenberg created new universe of sound and each interpretation is unique creation of independent Universe.
This is probably my favorite Schoenberg quartet, but.... One of the most hilarious and predictable phenomena of composer shtick is when they disavow membership to the movements they inaugurate. Debussy (in a French accent): "Those idiots! I am not an 'Impressionist'! Mon Dieu, what an execrable term! I am obviously a symbolist!" Schoenberg (in his strained voice): "Your stupid theory of dodecaphony! Stupid stupid stupid stupid!" Stravinsky: Officially hated the dinosaurs, though Hindemith told someone at the time of Fantasia's release that Stravinsky loved them. Ahhh, good times.
This one of the first serial works of Arnold Schoenberg. The serial technique is quite easy to perceive,l istneing v carefully to thr begiining of ther first, second and last movements.
@@stueystuey1962 What do you mean? I was just explaining that Schoenberg used in this quartet some primary usdes of the series, so the serial structure and the series itself could be easily perceived at the points that I underlind. At the very beginniçg, for instance, the series is split into an accompanying ce'll and a malodic cell. As far as I may remeber, it can be heard melodiclaay at the beginning of the last movement. In fi urther works, the use of the series becomes lore complex and it can hardly be identified by hearing only.
and I appreciate it! seemed like you were going to continue the thought. all good. I'm a weird listener. im familiar with 1st and 2nd quartets for a long time. third more recently and fourth no knowledge ... yet.
Schoenberg had no fear to feel. HIs compositions are absolutely the truth of a feeling which dives into the deepness of what we all have fear to experience. This place, where he is, is huge and he was brave enough to visit each obscure places of it. When will we be capable enough to discover all the hidden places of our minds? What is hidden in it? emptiness? And is emptiness what we pursue the most? is emptiness the origin of everuthing we create? aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
Yes, there were a few works before this one, but one cannot say "several". The wind quintet is indeed the most important, with the Suite for Seven Instruments, Op. 29
Did he know how to whistle? He once whistled Mahler's Symphony of a Thousand from beginning to end, and encored the performance with a Bach 4-voiced fugue!
Look. I get it. Carter, Ligeti, and grudgingly a few others it can be said that the "music" devolves into sound events. Transcendental yes.But this guy, this guy, MUSIC. Always!
I call a lot of composers genius. Carter, Babbitt, Wuorinen, Henze, Webern, Berg, Ligeti, Boulez, Schnittke, and Bartok but the real genius is Schoenberg.
Cette musique est absolument somptueuse....richesse du discours mélodique, harmonies à couper le souffle, orchestration sans cesse renouvelée dans l’utilisation des timbres de l'orchestre, bref une babylonienne architecture sonore érigée par d’humbles et immenses compositeurs-interprètes ! Ce compositeur hors-normes a créé un nouvel univers sonore et chaque interprétation est la création unique d'un univers indépendant, c’est si naturel
Babylonien en effet! Excellent commentaire... Cela me fait penser à la célèbre remarque de Douanier Rousseau à un certain Pablo Picasso : "Moi je suis le plus grand peintre moderne du monde, et vous : vous êtes le plus grand peintre d'égypt antique de notre temps!"
Definitely a great work of art - no doubt about that.
Thanks for it. Once I thought, that this interpretation is not such good as Lasalle Quartet's, but now I know, that they're incomparable. Schoenberg created new universe of sound and each interpretation is unique creation of independent Universe.
Same exact feeling here. And I LOVE the LaSalle. But this is pretty revelatory.
You breathes the air from another planet
Great work, and great liner notes. Thank you
My fave among his quartets. A really unique soundscape and the second movement is beyond the beyond
This is probably my favorite Schoenberg quartet, but....
One of the most hilarious and predictable phenomena of composer shtick is when they disavow membership to the movements they inaugurate.
Debussy (in a French accent): "Those idiots! I am not an 'Impressionist'! Mon Dieu, what an execrable term! I am obviously a symbolist!"
Schoenberg (in his strained voice): "Your stupid theory of dodecaphony! Stupid stupid stupid stupid!"
Stravinsky: Officially hated the dinosaurs, though Hindemith told someone at the time of Fantasia's release that Stravinsky loved them.
Ahhh, good times.
wuuuuut
geniuses get to do stuff like that.
Source?
Stravinsky: "Why is it that every time I hear a piece I truly hate, it's by Villa-Lobos?"
The term impressionism was used pejoratively by critics and not by Debussy himself though
Thank you for this!
Nice and smooth interpretation!
This one of the first serial works of Arnold Schoenberg. The serial technique is quite easy to perceive,l istneing v carefully to thr begiining of ther first, second and last movements.
and...
@@stueystuey1962 What do you mean? I was just explaining that Schoenberg used in this quartet some primary usdes of the series, so the serial structure and the series itself could be easily perceived at the points that I underlind. At the very beginniçg, for instance, the series is split into an accompanying ce'll and a malodic cell. As far as I may remeber, it can be heard melodiclaay at the beginning of the last movement. In fi urther works, the use of the series becomes lore complex and it can hardly be identified by hearing only.
and I appreciate it! seemed like you were going to continue the thought. all good. I'm a weird listener. im familiar with 1st and 2nd quartets for a long time. third more recently and fourth no knowledge ... yet.
They won that year's Grammy award for Best Pizzicato, Dodecaphony (Chamber Music/Small Ensemble Performance) -- deservedly, I might add.
This composer is good. 97 years old and still relevant.
Schoenberg had no fear to feel. HIs compositions are absolutely the truth of a feeling which dives into the deepness of what we all have fear to experience. This place, where he is, is huge and he was brave enough to visit each obscure places of it. When will we be capable enough to discover all the hidden places of our minds? What is hidden in it? emptiness? And is emptiness what we pursue the most? is emptiness the origin of everuthing we create? aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
What kind of emptiness?
thx
Check out Bernstein on Schoenberg 1-5 on my channel in #3 he talks about this piece .
Esta música dofecafonica es difícil de entender pero es de gran valor por su complejidad
Muy bueno
Absolutely amazing
lotsa fun, great video YAY!!!
Hay que escucharla con paciencia.
This music reveals to me the location of pleasure neurons inside my head. I guessed they must be somewhere.
One of the first dodecaphonic works of Schoenberg. The series is obvious at the beginning.
This came after several others. If I recall correctly the Wind Quintet was one of the first few large-scale twelve-tone pieces.
Yes, there were a few works before this one, but one cannot say "several". The wind quintet is indeed the most important, with the Suite for Seven Instruments, Op. 29
Transcendent beauty in atonality.
But did he know how to whistle?
Did he know how to whistle? He once whistled Mahler's Symphony of a Thousand from beginning to end, and encored the performance with a Bach 4-voiced fugue!
You forgot to mention that the second encore was Ligeti's Atmospheres, which was only composed 20 years afterwards!
Wittgenstein's Vienna.
Look. I get it. Carter, Ligeti, and grudgingly a few others it can be said that the "music" devolves into sound events. Transcendental yes.But this guy, this guy, MUSIC. Always!
Just got smacked upside the head by four acoustic Jelly 🍩's..... I like jelly Donut's.
Bach rewritten for the twentieth century...
I call a lot of composers genius. Carter, Babbitt, Wuorinen, Henze, Webern, Berg, Ligeti, Boulez, Schnittke, and Bartok but the real genius is Schoenberg.
12音音楽です。
*******
Ja, auch 12-Ton-Musik kann "empahtisch" sein.
Was ist "empatische" Musik? Wenn die Musik, mich versteht?
でもハ長調
Regentropfen auf Glasscheiben
😂😂😂😂
I think it´s too cold and academic!