Arnold Schoenberg: Verklärte Nacht, Op.4
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- เผยแพร่เมื่อ 2 พ.ย. 2024
- Arnold Schoenberg's tone poem 'Verklärte Nacht' (Transfigured Night) draws inspiration from Richard Dehmel's poem of the same name. In this concert at the University Aula in Oslo, the musicians of the NCO perform its original version for string sextet, preceded by reading of Dehmel's poem.
Performed by:
Sara Övinge, violin
Cam Kjøll, violin
Ida Klokk-Bryhn, viola
Marthe Husum, viola
Audun Sandvik, cello
Ole Eirik Ree, cello
Music
Arnold Schoenberg: Verklärte Nacht
Poem by Richard Dehmel
Norwegian translation 'Forklaret natt' by Hilde Holbæk-Hansen
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It is so wonderful to watch the musicians engaging with one another during the performance. They rely on one another rather than a conductor. It feels so alive and intimate. This really is my favorite channel for this kind of music. Thank you all for your commitment to craft and to fine music.
Never heard a performance where the players expressed the poem so beautifully. Makes all the difference in the world.
Bravissimo tutti Norwegian Chamber Orchestra, for the musicians who performed this masterpiece, and to the whole organization for putting out absolute top tier performances and productions. You are the go-to selection for any live performance of any work you've ever performed.
It's wonderful to see the NCO's rendition of the original sextet version of Verklärte Nacht. I loved this performance not only for the sublime musicality of the musicians, but also how the camerawork and the changes therein highlight important passages, or even just gnarly parts worth noticing. The individual parts sang together quite uniquely dominating and focused in the stripped down version, as in you can always clearly hear what each part is doing. That was lovely to experience.
This performance also highlights just how impressive the scope of the previous NCO full orchestra version was, especially from heart and sans conductor. I wish this version got the amazing audience of the former, but I do suppose they remind you that this is an actual performance with all the pressure of real people intimately listening to you. The mic spikes at the end were unpleasant though, but I understand they are just a part of live performances.
Well done once again to the Norwegian Chamber Orchestra, and especially to the amazing 6 performers who tirelessly worked this seminal work of art into their lives and poured it back to us, the benefactors. As a violist, NCO's complete treatment of this piece makes me infinitely thankful that it was written for, and can only fully be imagined by, toy wooden boxes tucked into your body and good company.
Bravissimo once again, from New Orleans, LA
Totally agree. I would also mention the performers' enjoyment of the music shines through. And what a civilised audience. No coughing, no extraneous noises, and silence at the end until the performers relaxed their bows. Excellent in every way.
The great tragedy of Schoenberg is how misunderstood he is even to this very day, over a hundred years later! Many students first introduction to Schoenberg is his 12-tone and Serial music, however, I believe if people were introduced to Schoenberg through his early works, they could develop an understanding on how atonality was a natural consequence of what Beethoven, Wagner, and Mahler were already doing. (and perhaps even develop an ear to appreciate it) Such a shame that many people think "Schoenberg = bad!"
This comment needs a million likes
Tbh his early works are very different. Having read his writings, I think the idea that 12-tone was a natural consequence of Schoenberg's understanding of tonal music is a bit silly. From Schoenberg's perspective, it doesn't stem from any of the same foundational ideas
@@aidanmays7825 But isn't that the whole point? Hi, yes I am replying from a different account. Schoenberg had, in his mind, pushed the tonal system as far as it would go. The only logical next step in his mind was to completely work from the group up. I mean, he didn't go from tonality straight to the 12-tone system. He dabbled in free atonality before. Peirrot isn't even 12-tone.
@@UncannyComics Imo there's a problem of terms. I spent a few years researching it in conservatory and it doesn't formally mean much. Qualitatively, it tends to be dissonant, not have a clear tonic, and use a different set of tones than the typical major or minor. Schoenberg's free atonal music was so compelling because according to his own writings it's still functional harmony, just far more creative in the function of chords and outcomes of counterpoint. He decided that the conclusion of that way of writing is an absence of order and without order music can't have meaning. He was probably right, but his solution being 12-tone serialism is the greatest error of his career imo. It's entirely arbitrary except in its attempt to avoid any tonal implications. The problem is that the sole purpose of the system is wrong according to his own understanding. You don't have to play a note even once to functionally establish it as a key center, and playing a note more frequently doesn't fundamentally convey a function either. He had maybe the most thorough understanding of the origins of tonality and the systems/science behind it. He could have built a new language from the ground, but his ego (this is seen pretty clearly in his later essays and speeches) led him to reject the notion of language all together to create something new essentially in his image. He loved the God Creator archetype and it led to a highly successful career and legacy, but music that normal people don't want to listen to
@@aidanmays7825 All of this is really well said, and you are obviously really knowledgeable on the topic. I agree, that the 12-tone system leaves much to be desired. In a sense, it's a fascinating tool to display the other facets of music. (e.g., make it interesting with rhythm, timbre, and dynamics.) Schoenberg did think he was on to the next big thing. He thought people would hum his melodies in the street. (I've always thought this is ludicrous. People can't even sing Happy Birthday in tune. Good luck getting them to sing a 12-tone melody.) While I think everything you said is true and accurate, there certainly is a problem of terms. (12-tone, atonal, free atonal) I hold true to my original point that Schoenbergs music is best understood by first looking at his early works and first understanding that he had mastered the old style. He truly was a fantastic melodist. (Pelleas und Mellisande is full of lovely melodies) Even as a defender of Schoenberg, I find it hard to listen to too much of his 12-tone music without a break. I'm always more compelled by his earlier music. But hey, whatever our points may be, Schoenberg did one thing right. Here we are, over 100 years later still talking about him! Attaboy Arnie!
Magnificent piece and players. Thank you so much for sharing this with us.
This recording is one of the most impressive things if ever seen. SO beautiful.
What a wonderful, exquisite performance. Thank you for this experience
I didnt know about Dehmel´s poem, that was an inspiration for Schönberg. Thank you for this, and thank you all six for this wonderful music.
Exquisite , what a beautiful video , for those of us not there it’s transformative , soothing , uplifting watching the emotions on the faces of musicians . Thank you dear people & Auden for this delicate offering ❤🙏🏻🤗
Happy 150th Birthday Arnold Schoenberg.
Espectacular! Un placer verlos interpretar así.
Gorgeous meticulous performance, BRAVI TUTTI! I wonder what is the connexion between Verklärte Nacht and Strauss' 'Metamorphosen' ?
Thank You,Norge ore Norway.Excuse me, l dont know, wich the right art to a Skript.
Thank you. I have subscribed to your posts. I think you are fantastic - coming from a violist that was once a member of a world famous orchestra. I understand the need to monetize your posts, you deserve tons of money, but when ads pop up all the way through this it ruins the experience for me. Again you are all artists of the highest caliber.
Try AdBlock Plus. No advertising. And I think you are mistaken, the money for advertising goes not to Norwegian Chamber Music but to TH-cam.
I've recently subscribed to TH-cam and there are no ads interrupting performances. I agree, ads are disruptive but that is really Google, not this fine troupe who are seeking money. Yes, they do receive some form of compensation but alas, should we expect it to be free? I feel my subscription to TH-cam is one of the best investments I make.
O um@@curtisgrindahl446
A powerfully sensitive and impassioned performance, with close rapport among the musicians. It was helpful to have the programmatic poem read at the beginning (the music starts at 3:34).The Norwegian Chamber Orchestra also performs Schoenberg's expanded version for full chamber orchestra including double basses. Adding to the atmosphere, the musicians in that video memorized their parts and play in semi-darkness, embodying the nocturnal theme. th-cam.com/video/5h5Xc-rUef4/w-d-xo.html
Anyone here from LSAT preptest 144?
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¡Horrísono!