Whenever I hear Gould play it occurs to me that I'm hearing someone who's "doing analysis" as he plays, penetrating right to the core of the job description of every single note on every single line. He was an artist like no other.
@@wormswithteeth No ,she meant that this wonderful musical work would be a loveliest background music for a talk with friends...And she is thoroughly right.
@@eldesgraciado6690 have a listen to this other piece of Anton's. Short 30 seconds, it's one of my favourites. th-cam.com/video/kI7qdLL54bY/w-d-xo.html
Impresionante ver a Webern y a G. Gould en un mismo evento; creo que Webern lo hubiera agradecido. Impresionante interpretación. Me sorprende todavía más la precisión y la poesía de Gould, una mezcla prodicgiosa. Qué lástima que murió tan joven.
Вторая часть в любой интерпритация великолепна. Я ощущаю , будто я бросаю мячик , и он постоянно отскакивает. В целом, если не обращать внимание на драматургию этих произведений , то может показаться что это просто котик решил прогуляться по фортепиано, ну или ребёнок впервые сел и начал импровизировать без темы. Но это написал опытный старенький венский композитор.
Im not a student of music. I am a passionate listener of derial music. Amongst the various perfermorers and therefore interpreters of said music Mr. Gould sure does arouse attention. No one brings put the plink onk of serial better than him.
Very interesting to compare Gould interpretation with Zimerman's - I find Gould's rendition much more expressive and in line with Webern's style far more than Zimerman's. The piece is a late work (1935) and expresses the mature Webern well. Very special music! And just one spelling correction - the last movement is 3. Ruhig, Fließend - meaning Calmly Flowing.
He was actually one of the most important proponents of works by the Second Viennese school in the 60's (when it wasn't so popular), and himself wrote many works using 12 tone technique (Gould was also a sometime composer).
"the Second Viennese school in the 60's (when it wasn't so popular)" The "Second Viennese School" has *never* been popular, outside of a rarified bubble of avante-gardists for perhaps three decades (now well past, and thank God for that, with the death of the insufferable Boulez). I love Glenn Gould, and I respect Webern, and more especially Berg - but let's not delude ourselves that the so-called Second Viennese school (a rather presumptuous bit of promotional effrontery by publicists to compare them with Haydn, Mozart, & Beethoven) was ever anything remotely resembling "popular."
@@arielorthmann4061 writes, "Up until the 90's, avant-garde music was pretty popular among the general public." That's hilarious. A number of musical languages have come and gone over the centuries, but dodecaphony is the only one that arrived stillborn and has remained lifeless despite earnest attempts to hook its corpse up to life-support in academic circles. Only theory-besotted ideologues and careerist "experts" could promote music so ugly, so soulless, and so utterly unnatural to the human ear. Schoenberg - a superstitious crank with delusions of Teutonic grandeur ("I have made a discovery which will ensure the supremacy of German music for the next hundred years"), a man who lived by numerology and consequently died of fright on Friday the 13th of July - once predicted that grocers' clerks would whistle serial music while making their deliveries. In fact, Schoenberg's music has *never* entered the standard performing repertory; rather, it literally drove orchestra patrons out of 20th-century concert halls, and it did more severe and long-term damage to the standing of classical music as a living genre than even the rise and fall of the Third Reich.
I am sympathetic to those who find this music to be bad. For many years, I could not enjoy Webern at all and in fact, I was quite confident in saying it was just a pretentious fraud, like much of contemporary art and poetry really is. I said it was gimmick and a way to allow bad composers hide their lack of musical ability or accomplishment. And I still do think that. And I do think there is a certain type of cliquishness in academic composers of that. There were period where I thought I could get it, but then I'd come across a person of seeming perfect good taste and musical ability far above mine. And they would say very convincingly it was garbage from mediocre struggling composers to obtain fame and recognition based on the novelty of their system and its needless complexity and difficulty for the average listener Yet, this is what happened. I listened to ordinary music - meaning Mozart, Beethoven, Brahms, etc. And I listened a lot, all the time, enjoying it very much. And then I moved onto other traditional composers who composed in a the late Romantic idiom. This produces two effects - one, to cause one's hear to yearn for something new; and two, to train the ear in the ability to really hear music. And it does not seem like such a big leap to the so called atonal works of Schoenberg and Webern and especially Berg. I think if a person listen to music for a very long time, he will arrive at a point where his ear will want novelty. And then I thought I'd give Berg another try. It was the Lulu Suite. And it was what I was listening for and needed to hear and it was beautiful. And then, with a bit of work of active listening and also repetition, I came to hear the music in these types of pieces. I do not think a person should be expected to appreciate what he experiences as bad. But I do think - if I am representative at all of music lovers - that if a person listens for many years to traditional music, the ugliness of Webern will vanish and one can actually enjoy it. My advice - for what it's worth - is to just listen to the music. Put Variations, Op 27 on repeat and listen to it 30 times. I suspect if your ear is ready to hear the beauty in the music, it will, with a little work, and it will in the end be good for you.
Great comment. I agree that when you listen to Mozart years after years, your ears might like to experience something 'new'. I also think taste in one's preference to music can develop over time. I use to hate Prokofiev for his harsh tonality, but now I love it. I think everyone can take small steps for instance from Beethoven > Brahms > Rachmaninoff > Prokofiev > Stravinsky > Debussy and then you can start exploring the 20th century music.
It is a subject I've given some amount of thought to. To a large extent, one is hardly responsible for one's tastes. Although, there is a type of cultivation of a taste. But what may be hard to keep in mind is the magic of the classical period, as well as the early romantic period. One hardly heard music at all. There were no recordings. I imagine there was a much greater degree of magic to the ear in hearing beautiful music when music was so much less of a thing that was the background of everything. Should a person train himself to appreciate more dissonance? Intentionally? I would guess that an ear that has not been brought up surrounded by what we think of as classical music as a genre simply would not hear the same thing in Webern that another ear would hear. There was a rather failed aspiration after the war - in a sense, I gather - that tonality would die off and atonality - or whatever you wish to call it - would be the next step in serious music. One thinks of the more notorious pronouncements of Wuorinen in this regard. But Schoenberg, Berg, Webern, they grew up in the romantic tradition of German music as a real cultural force.
That sounds nice, but an average four year old can compose this sort of work. By all means, enjoy it, but don't delude yourself into thinking it's any more sophisticated than that.
+Max Planck Isn't there a danger you would mistake a prolonged silence for a musical masterpiece? "Total failure" is pretty harsh criticism on Stravinsky's part.
Lo magistral de esta interpretación radica en haber logrado penetrar la partitura, acercándola aún más a esa escritura de lo inefable. Pura sustancia. Valor es dado a la nota, al timbre mismo, al color y al vacío. Pausas sonantes. Pausas plenas sin otra voluntad que prolongar el son. La estructura, de simplicidad aparente, cubre una densidad pasmosa. Glenn Gould nos lleva, no es asunto arduo, dejándonos vagar a modo de meditación hasta impregnarnos. Solo después, el eco ya huido, alcanzamos el vacío. Poesía al estado puro, me decías citando a Daniel Charles, Webern da a cada sonido «le maximum de dignité et de pesanteur, le coefficient le plus haut de "sens" » (1978: 205-206 ).
Tu comentario es similar a lo que diría un grupo de turistas en un museo de arte moderno frente a un cuadro que sea solo pintura negra con una raya roja cruzada por en medio: "Hay que saborear los espacios no utilizados" y huevonadas de ese tipo. Estos sonidos son una verdadera MIERDA. 100% MIERDA.
We play this to our expectant son in the womb. Then we dance to the music, and then make love to it. It should be launched into space, like Voyager did, as an example of great human music.
In order not to groundlessly blame music for what it has become, better read the article by Theodor Adorno "Schoenberg and Progress". Everything is laid out there on the shelves for those who are able to understand what is written.
It's an option for my LRSM ....but my poor wife would have to hear me practising this for the next year.....and in all honesty it does sound like musical wack-a-mole....I'm right aren't I?
Its funny all the skill he had and lovely music at gis disposal he plays something ridiculously difficult and totally awful. They say there's a fine line between genius and madness. I think a few composers definitely stepped over the line 😂
The atonality is interesting but I believe this piece lacks all aesthetic beauty. People like Scriabin made great use of atonality in his works, so did Ravel when he composed the Scarbo movement of Gaspard de la nuit but this just sounds too strange. No emotions involved.
Scriabin is still largely romantic, he is huge, overbearing, passionately Russian. He thought the impeding war would liberate the way to his music and then he died in 1913. He still belongs to that heaving emotional camp of Strauss & Mahler. Whereas this work is of 1935, very compact, distilled version free from wearing emotions on a sleeve. It's very introverted. Huge difference! (Ravel is a follower of Debussy, he can't compare in innovation with these two).
Granted, not all music is beautiful; nor does all music give auditory pleasure. However, can there be any thrill in such ugly, torturous soundscapes? Must I be a flagellant to curry your favor? Who cares if I listen?
What do you know about tonality, dodecaphony, fugal techniques (inversion, polyphony etc.)…? It's the same with chess: how much enjoyment you get from watching two grandmasters play depends on what *your* rating is.
@@golden-63 - Well, that's a great point. It is EXACTLY the same thing. Since you seem to be able to "understand" this stuff and you're my age (I'm assuming from the -63 in your name), can you explain to me the difference between this painting by Jackon Pollock and the paint spill pattern on any given house painter's drop cloth? ;) Would you pay $1,000,000 for this spill? i.ebayimg.com/images/g/XiAAAOSwE4VkYcNe/s-l1600.jpg
@paul w this clown sounds no different than a cat walking across the piano for most of it. And speaking of cats Nora the piano cat is better and less random.
I've studied his work deeply and can tell you he's got plenty of composing ability. The complexity of the structure used is astounding. The way he uses the twelve tone technique is like building a marvelous puzzle with great simmetry and logic behind it's many pieces. It's really just a very complex composing technique to which people are not accustomed. It takes time to understand it and a very critical listening. It's like watching a David Lynch film and trying to figure out the plot.
@@gastonarevalo1237 Yes, except there isn't much of a "plot" here in the usual sense. Anyway, all music is abstract. It's just three tableaux, the first one showing the mirror images, classical in form, equivalent to an allegro. The second one, equivalent to a dance, the third one - post-romantic, linear, Wagnerian-style finale, leading to a climax near the end (by introducing ever shorter note durations), then followed by a coda, in which everything has the duration of a half-note, which gives it a march-like quality. That's how I see it.
Glenn Gould’s Webern was the best l ever heard. Incredible.
Whenever I hear Gould play it occurs to me that I'm hearing someone who's "doing analysis" as he plays, penetrating right to the core of the job description of every single note on every single line. He was an artist like no other.
So happy that this was filmed for posterity.
Love this song. Perfect for an evening with friends.
Sounds like silence would be preferable at your place then.
😂
@@wormswithteeth No ,she meant that this wonderful musical work would be a loveliest background music for a talk with friends...And she is thoroughly right.
@@bitterly_sorryingoh most definitely. They could talk about paint drying 😂
Firstly, this is not a song
He really brings this music to life.
Beautiful piece! Thanks for sharing...
I love Gould's humming of the main theme.. really adds more magic to the performance..
This is trash.
@@eldesgraciado6690 Trash is in the ear of the listener.
@@pettycur especially when the listener is optimally percieving.
@@eldesgraciado6690 have a listen to this other piece of Anton's. Short 30 seconds, it's one of my favourites. th-cam.com/video/kI7qdLL54bY/w-d-xo.html
I think this should be our National Anthem.
🤣
What country are you?
haha, nice one... really
@@marcmitchel25 North Korea
Impresionante ver a Webern y a G. Gould en un mismo evento; creo que Webern lo hubiera agradecido. Impresionante interpretación. Me sorprende todavía más la precisión y la poesía de Gould, una mezcla prodicgiosa. Qué lástima que murió tan joven.
this is the music i have playing in the background every time i realize that i witnessed a Mafia execution.
Tony Soprano
I was looking for The Sopranos commenters. It took some scrolling, but I found ‘em!
Mr. Gould Thank you! You saved mylife!
i love how glen takes serial pieces and gives them warmness and humanity
webern's music is bursting with humanity!
He's the master of such pieces. Pure Gould dust.
@@matthewmcclure8799yeah bursting with something 😂. Pile of doggy do do
Nobody got this music like he did
Вторая часть в любой интерпритация великолепна. Я ощущаю , будто я бросаю мячик , и он постоянно отскакивает. В целом, если не обращать внимание на драматургию этих произведений , то может показаться что это просто котик решил прогуляться по фортепиано, ну или ребёнок впервые сел и начал импровизировать без темы. Но это написал опытный старенький венский композитор.
Im not a student of music. I am a passionate listener of derial music. Amongst the various perfermorers and therefore interpreters of said music Mr. Gould sure does arouse attention. No one brings put the plink onk of serial better than him.
Pur as a diamond. Look at his play, twisting the serial figures by crossing his hands .......
ON THE FRIDGE! ON THE FRIDGE!
You just had to be the BIG MAN!
I have never seen anyone play piano like that, as though he is conducting with one hand and it is only himself.
He never had the makings of a varsity athlete.
Inimitable GG. Imagine the Sound Worlds he had in his head.
I could swear i saw him conducting with his left hand what he was playing toward the end❤
You had to be the big man!
Where's that detective's number???
Real lack of standards your generation
@@rickytomatoes ON THE FRIDGE ON THE FRIDGE
Thank you so much!
Very interesting to compare Gould interpretation with Zimerman's - I find Gould's rendition much more expressive and in line with Webern's style far more than Zimerman's. The piece is a late work (1935) and expresses the mature Webern well. Very special music!
And just one spelling correction - the last movement is 3. Ruhig, Fließend - meaning Calmly Flowing.
Glenn always reminds me of Max Wall at the keyboard.
uah! Bellissimo... ✨✨✨🌜🌟🌛✨✨✨
I am a lover of the romantic period and don’t see myself as a philistine, yet I don’t get this at all. Feels like the emperor’s new clothes again.
Do you get it now?
Makes a nice medley with Cecil Taylor's Free Improv (from Ron Mann's 1981 documentary "Imagine The Sound") also in a white room.
He also wrote a fugue about how to write a fugue. It's called "So you want to write a fugue."
Ah, I didnt knew that either. I shall go look for some of his music!
The best part is that if you make a mistake, nobody will notice.
Not true
Maybe to you.
You don’t know your ass from your elbow if you can say that.
You presume that people don't know this music.
It was a joke jesus christ
He was actually one of the most important proponents of works by the Second Viennese school in the 60's (when it wasn't so popular), and himself wrote many works using 12 tone technique (Gould was also a sometime composer).
"the Second Viennese school in the 60's (when it wasn't so popular)"
The "Second Viennese School" has *never* been popular, outside of a rarified bubble of avante-gardists for perhaps three decades (now well past, and thank God for that, with the death of the insufferable Boulez). I love Glenn Gould, and I respect Webern, and more especially Berg - but let's not delude ourselves that the so-called Second Viennese school (a rather presumptuous bit of promotional effrontery by publicists to compare them with Haydn, Mozart, & Beethoven) was ever anything remotely resembling "popular."
@@Psalm51V15 and not even from the 60's, the three of them died before the 50's
@@teixeiro incorrect. Schönberg died in 1951
@@Psalm51V15 incorrect. Up until the 90's, avant-garde music was pretty popular among the general public.
@@arielorthmann4061 writes, "Up until the 90's, avant-garde music was pretty popular among the general public."
That's hilarious. A number of musical languages have come and gone over the centuries, but dodecaphony is the only one that arrived stillborn and has remained lifeless despite earnest attempts to hook its corpse up to life-support in academic circles. Only theory-besotted ideologues and careerist "experts" could promote music so ugly, so soulless, and so utterly unnatural to the human ear.
Schoenberg - a superstitious crank with delusions of Teutonic grandeur ("I have made a discovery which will ensure the supremacy of German music for the next hundred years"), a man who lived by numerology and consequently died of fright on Friday the 13th of July - once predicted that grocers' clerks would whistle serial music while making their deliveries.
In fact, Schoenberg's music has *never* entered the standard performing repertory; rather, it literally drove orchestra patrons out of 20th-century concert halls, and it did more severe and long-term damage to the standing of classical music as a living genre than even the rise and fall of the Third Reich.
I am sympathetic to those who find this music to be bad. For many years, I could not enjoy Webern at all and in fact, I was quite confident in saying it was just a pretentious fraud, like much of contemporary art and poetry really is. I said it was gimmick and a way to allow bad composers hide their lack of musical ability or accomplishment. And I still do think that. And I do think there is a certain type of cliquishness in academic composers of that. There were period where I thought I could get it, but then I'd come across a person of seeming perfect good taste and musical ability far above mine. And they would say very convincingly it was garbage from mediocre struggling composers to obtain fame and recognition based on the novelty of their system and its needless complexity and difficulty for the average listener
Yet, this is what happened. I listened to ordinary music - meaning Mozart, Beethoven, Brahms, etc. And I listened a lot, all the time, enjoying it very much. And then I moved onto other traditional composers who composed in a the late Romantic idiom. This produces two effects - one, to cause one's hear to yearn for something new; and two, to train the ear in the ability to really hear music.
And it does not seem like such a big leap to the so called atonal works of Schoenberg and Webern and especially Berg.
I think if a person listen to music for a very long time, he will arrive at a point where his ear will want novelty.
And then I thought I'd give Berg another try. It was the Lulu Suite. And it was what I was listening for and needed to hear and it was beautiful. And then, with a bit of work of active listening and also repetition, I came to hear the music in these types of pieces.
I do not think a person should be expected to appreciate what he experiences as bad. But I do think - if I am representative at all of music lovers - that if a person listens for many years to traditional music, the ugliness of Webern will vanish and one can actually enjoy it.
My advice - for what it's worth - is to just listen to the music. Put Variations, Op 27 on repeat and listen to it 30 times. I suspect if your ear is ready to hear the beauty in the music, it will, with a little work, and it will in the end be good for you.
Great comment. I agree that when you listen to Mozart years after years, your ears might like to experience something 'new'. I also think taste in one's preference to music can develop over time. I use to hate Prokofiev for his harsh tonality, but now I love it. I think everyone can take small steps for instance from Beethoven > Brahms > Rachmaninoff > Prokofiev > Stravinsky > Debussy and then you can start exploring the 20th century music.
It is a subject I've given some amount of thought to. To a large extent, one is hardly responsible for one's tastes. Although, there is a type of cultivation of a taste. But what may be hard to keep in mind is the magic of the classical period, as well as the early romantic period. One hardly heard music at all. There were no recordings. I imagine there was a much greater degree of magic to the ear in hearing beautiful music when music was so much less of a thing that was the background of everything. Should a person train himself to appreciate more dissonance? Intentionally? I would guess that an ear that has not been brought up surrounded by what we think of as classical music as a genre simply would not hear the same thing in Webern that another ear would hear. There was a rather failed aspiration after the war - in a sense, I gather - that tonality would die off and atonality - or whatever you wish to call it - would be the next step in serious music. One thinks of the more notorious pronouncements of Wuorinen in this regard. But Schoenberg, Berg, Webern, they grew up in the romantic tradition of German music as a real cultural force.
That sounds nice, but an average four year old can compose this sort of work. By all means, enjoy it, but don't delude yourself into thinking it's any more sophisticated than that.
+Ryan L No need to concern troll us, nobody is going to take the Emperor's New Music away from you.
+Max Planck Isn't there a danger you would mistake a prolonged silence for a musical masterpiece?
"Total failure" is pretty harsh criticism on Stravinsky's part.
AMAZING!
amazing! also equally amazing that anyone can memorize long pieces by webern!!!
I played these variations on my end of school exam, at 18.
@@vivvpprof We cannot readily believe you.
Lo magistral de esta interpretación radica en haber logrado penetrar la partitura, acercándola aún más a esa escritura de lo inefable. Pura sustancia. Valor es dado a la nota, al timbre mismo, al color y al vacío. Pausas sonantes. Pausas plenas sin otra voluntad que prolongar el son. La estructura, de simplicidad aparente, cubre una densidad pasmosa. Glenn Gould nos lleva, no es asunto arduo, dejándonos vagar a modo de meditación hasta impregnarnos. Solo después, el eco ya huido, alcanzamos el vacío. Poesía al estado puro, me decías citando a Daniel Charles, Webern da a cada sonido «le maximum de dignité et de pesanteur, le coefficient le plus haut de "sens" » (1978: 205-206 ).
Tu comentario es similar a lo que diría un grupo de turistas en un museo de arte moderno frente a un cuadro que sea solo pintura negra con una raya roja cruzada por en medio: "Hay que saborear los espacios no utilizados" y huevonadas de ese tipo. Estos sonidos son una verdadera MIERDA. 100% MIERDA.
@@eldesgraciado6690 veo un poco de contemporaneo-fobia por aquí :)
@@GUILLOM
Esta basura es antigua.
@@eldesgraciado6690 a que consideras antigua? Y por qué estás tan obsesionado con que sea basura si no sabes ni lo que es?
@@GUILLOM ¡ANTIGUA, oye atolondrado! ¡Aprende a leer!
Immaculate Gould
I dig this
The Sopranos brought me here.
beautiful!
No words?
I can't understand how he could play the piano like that.
On the fridge on the fridge.
I KNEW IT!!!!!! LOLOLOL
👏 😮 👏 😮 👏 😮
01:31 Sehr schnell (Inversional canon)
02:06 Ruhig fliessend
Where is the drop
Hey, I didnt knew he played modern. Had only heard Bach from him...
Tried to get in touch with him, still haven't heard Bach from him...
@@tedfitz8824 he’s Haydn from you
@@cthulhutentacles4994 he sold his phone, I heard he went baroque
@@edoardodalpra4742 LMFAOOOOOO
💕💞💙🌾😔
Keine Ahnung warums mir gefällt. Gould mit seinem Taktgefühl ist hochinteressant, Pollini dagegen kaum auszuhalten. (bei Webern) Max
Genau, finde Pollini “ kühl “
We play this to our expectant son in the womb. Then we dance to the music, and then make love to it. It should be launched into space, like Voyager did, as an example of great human music.
How did that son turn out? High on the autistic spectrum?
The only reason this music should be launched into space is to be vaporized or head first into the sun to be melted.
@@LCRLive687 lmao
Not sure I would make love with a piece of music but you do you mate
You must be very white
Used as title theme in Polish TV culture program "Pegaz" ("Pegasus"). Since 1959: th-cam.com/video/A7OOtbFqjt0/w-d-xo.html
Kind of ironic, given the attitude of a certain regime towards Serialism...
What am I missing here? This sounds like something I could play, and I’ve never played a piano before
Lol. Go ahead and try.
Yeah agreed. I also think I could also play Tchaikovsky's violin concerto easily, I'm a percussionist btw.
@@arielorthmann4061 I’m very happy for you
Who better than Glenn Gould, with creaky little chair, to play Anton Webern, a man shot simply for having a cigarette after curfew?
Webern's son-in-law was running a post-WWII black-market operation out of their home. Too bad for Webern and for the world of classical music.
In order not to groundlessly blame music for what it has become, better read the article by Theodor Adorno "Schoenberg and Progress". Everything is laid out there on the shelves for those who are able to understand what is written.
It's an option for my LRSM ....but my poor wife would have to hear me practising this for the next year.....and in all honesty it does sound like musical wack-a-mole....I'm right aren't I?
He would have done well in a Mauricio Kagel movie
sodelicious
2:06
1:31
Its funny all the skill he had and lovely music at gis disposal he plays something ridiculously difficult and totally awful. They say there's a fine line between genius and madness. I think a few composers definitely stepped over the line 😂
it's inevitable that music will follow the sounds of the UNIVERSE
Not trying to be prätentiös, or maybe.yes, but atonal music is wonderfull
The atonality is interesting but I believe this piece lacks all aesthetic beauty. People like Scriabin made great use of atonality in his works, so did Ravel when he composed the Scarbo movement of Gaspard de la nuit but this just sounds too strange. No emotions involved.
There are many emotions involved. They're just not served for you on a silver platter like everything else.
@@ethanblackburn5817 they sound like severely impaired forms of emotions.
@@LCRLive687 Exactly.... that's the beauty of it
Scriabin is still largely romantic, he is huge, overbearing, passionately Russian. He thought the impeding war would liberate the way to his music and then he died in 1913. He still belongs to that heaving emotional camp of Strauss & Mahler.
Whereas this work is of 1935, very compact, distilled version free from wearing emotions on a sleeve. It's very introverted. Huge difference! (Ravel is a follower of Debussy, he can't compare in innovation with these two).
@@wagnergalore5866 I ended up changing my mind few years ago lol but thank you for commenting, I totally forgot about this piece.
Ladies and gentlemen : ✨music✨
Joking, that's garbage
he looks like john travolta
I think that you are telling fibs.
Jeu trop sec, sans rubato, sans expression: Webern n'aurait certainement pas apprécié.
"ma musique n'est pas moderne: elle est mal jouée" schoenberg...
I think the main thing he wrote was a string quartet... not much else, sadly.
Not much else?? He wrote a lot of works, including a whole symphony!
ON THE FRIDGE!! ON THE FRIDGE!!
Heard it first in the 60s. As irritatingly uninteresting now as then.
Może Ty po prostu pojęcia o tym nie masz?
@@DarekK618That's it. Tried to for many years.
Granted, not all music is beautiful; nor does all music give auditory pleasure.
However, can there be any thrill in such ugly, torturous soundscapes? Must I be a flagellant to curry your favor? Who cares if I listen?
This is cancer to my ears, Jesus Christ who could listen to this, belongs in a horror film. A bad horror film.
+IamRyanLPs Interesante tu juicio. Tu ingenuo juicio. Respetable pero ingenuo y un poco fuera de lugar.
+Pedro Sanchez Meza Totally agree with you.
You should like Berg's Op.1. It has echos of tonality left.
I still cannot stand it, no matter who plays it.
What do you know about tonality, dodecaphony, fugal techniques (inversion, polyphony etc.)…?
It's the same with chess: how much enjoyment you get from watching two grandmasters play depends on what *your* rating is.
no one cares.
@@vivvpprof I like your analogy
This is ABSOLUTE NONSENSE. And whoever thinks differently needs to go read the fable "The Emporer's New Clothes"...
That's the same thing some people say about modernist art. You have to truly know all that came before it to understand it.
@@golden-63 - Well, that's a great point. It is EXACTLY the same thing.
Since you seem to be able to "understand" this stuff and you're my age (I'm assuming from the -63 in your name), can you explain to me the difference between this painting by Jackon Pollock and the paint spill pattern on any given house painter's drop cloth? ;)
Would you pay $1,000,000 for this spill?
i.ebayimg.com/images/g/XiAAAOSwE4VkYcNe/s-l1600.jpg
This is awful.
Its like "modern" abstract art. A mess of confusing nonsense to hide a lack of talent and lack of composing ability.
@paul w this clown sounds no different than a cat walking across the piano for most of it.
And speaking of cats Nora the piano cat is better and less random.
@@LCRLive687 Do you really think a cat could expertly walk across a piano with immaculate pitch symmetry?
I've studied his work deeply and can tell you he's got plenty of composing ability. The complexity of the structure used is astounding. The way he uses the twelve tone technique is like building a marvelous puzzle with great simmetry and logic behind it's many pieces. It's really just a very complex composing technique to which people are not accustomed. It takes time to understand it and a very critical listening. It's like watching a David Lynch film and trying to figure out the plot.
@@gastonarevalo1237 Yes, except there isn't much of a "plot" here in the usual sense. Anyway, all music is abstract. It's just three tableaux, the first one showing the mirror images, classical in form, equivalent to an allegro. The second one, equivalent to a dance, the third one - post-romantic, linear, Wagnerian-style finale, leading to a climax near the end (by introducing ever shorter note durations), then followed by a coda, in which everything has the duration of a half-note, which gives it a march-like quality. That's how I see it.
The sad part is that the Second Viennese School composer are, aesthetically, always abot 5-10 years behind Bartok. They never quite catch up to him.
My mom used to sing this to me every night.
Where on the fridge?
You had to be the big maan!