No soy , en general, partidaria de arreglos fuera de los del autor, pero este me ha conmovido De algún modo resultó cierto lo que se dice: Brahms piensa en orquesta y escribe para piano o cuarteto En el fondo es música sinfónica por su enjundia , complejidad y profundidad.
If I'm not mistaken, Schoenberg attended the premiere of Brahms's 4th symphony. Or maybe that was Richard Strauss. I know Schoenberg overlapped a bit with Brahms though, as odd as that would seem.
So this is the Brahms FIFTH! Somehow it has eluded me for many years. My first hearing. Its more reminiscent of Brahms than of Schoenberg! I wonder what Brahms would have thought about Schoenberg s later work?
@@JoshuaSobel Probably not; the première was in Germany, not Vienna. Schoenberg was 11 at the time. But they might well have met at some point; Schoenberg was a student with Brahms's friend Zemlinsky in the 1890s. Schoenberg admired Brahms, and wrote an essay called "Brahms the progressive".
@@brianbarry5039 Agreed, and thinking about it, I don't think the orchestration is even very good, in the sense that Schoenberg applied his theories of tone color melody to Brahms, wherever he thought appropriate. It's one thing applying it to his own music, another to Brahms's. A slightly more successful Schoenberg orchestration is that of Bach's Saint Anne Prelude and Fugue for organ, at least the fugue. But even there, often times it's color for color's sake, and the result is strange, unnatural. Better still is Webern's orchestration of Bach's six part fugue from the Musical Offering.
Brahms certainly COULD have included the expanded wind (bass clarinet) and percussion (xylophone) had he chose to do so. However, ever the conservative, Brahms wrote for a very traditional orchestra. We can't know for sure what Brahms would have made of this. The real question is whether Schoenberg revealed something new or whether this is musical paint by numbers. I think it has something worthwhile to offer....
00:00 Allegro
14:05 Intermezzo: Allegro ma non troppo
22:39 Andante con moto
33:27 Rondo alla Zingarese: Presto
No soy , en general, partidaria de arreglos fuera de los del autor, pero este me ha conmovido
De algún modo resultó cierto lo que se dice: Brahms piensa en orquesta y escribe para piano o cuarteto
En el fondo es música sinfónica por su enjundia , complejidad y profundidad.
Imagine Schoenberg & Brahms in the same breath.....BRAVI!
If I'm not mistaken, Schoenberg attended the premiere of Brahms's 4th symphony. Or maybe that was Richard Strauss. I know Schoenberg overlapped a bit with Brahms though, as odd as that would seem.
So this is the Brahms FIFTH! Somehow it has eluded me for many years. My first hearing. Its more reminiscent of Brahms than of Schoenberg! I wonder what Brahms would have thought about Schoenberg s later work?
@@JoshuaSobel Probably not; the première was in Germany, not Vienna. Schoenberg was 11 at the time. But they might well have met at some point; Schoenberg was a student with Brahms's friend Zemlinsky in the 1890s. Schoenberg admired Brahms, and wrote an essay called "Brahms the progressive".
@@jefolson6989 In a way this is Schoenberg's later work. He made this orchestration in 1937, when he was in his 60s.
@@jrb5077 maybe I'm thinking of R Strauss
This is such wonderful music. I think that Brahms would have loved the orchestration!!
I doubt it.
@@muslitagreed this orchestration is as much Schoenberg as it is Brahms.
@@brianbarry5039 Agreed, and thinking about it, I don't think the orchestration is even very good, in the sense that Schoenberg applied his theories of tone color melody to Brahms, wherever he thought appropriate. It's one thing applying it to his own music, another to Brahms's. A slightly more successful Schoenberg orchestration is that of Bach's Saint Anne Prelude and Fugue for organ, at least the fugue. But even there, often times it's color for color's sake, and the result is strange, unnatural. Better still is Webern's orchestration of Bach's six part fugue from the Musical Offering.
Brahms certainly COULD have included the expanded wind (bass clarinet) and percussion (xylophone) had he chose to do so. However, ever the conservative, Brahms wrote for a very traditional orchestra.
We can't know for sure what Brahms would have made of this. The real question is whether Schoenberg revealed something new or whether this is musical paint by numbers.
I think it has something worthwhile to offer....
Maybe, the Finale.
El pensamiento brahmsiano es de una complejidad contrapuntística que lo hace básicamente orquestal
La prueba está en que Schœmberg se tentó y lo hizo
The title at the beginning of the video should say "Piano Quartet no.1 in G MINOR..."
The piano quartet in G minor easily handles the weight of orchestration