A very attractive piece by Reger! By the way, if any of you out there are familiar with a lot of Reger's solo piano music, if there are any pieces of his that you love and that don't require virtuoso technique, I would love to hear about them! Here is one solo piano piece by Reger that I've come to love, and it's played wonderfully by Markus Becker in this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jpqgOBZv8CA.html
The Romanian Enescu was one of these composers of the late XIX th and the first half of the XX th who made efforts to malt popular, folkloric expressions to the classical language. Even if he developed a much less advanced language than his Hungarian colleague Bartok, his style, particularly in chamber music, is very original and appealing. ❤❤❤❤❤
I don't think it's a 'wonderful piece' except in the sense that it's deeply disturbing. In this sense it's very effective. Quite difficult to 'enjoy' in the usual sense, as I expect to listen to music. The reference to Pfitzner feels relevant but to me, it leans towards later, less welcome composers, like Scriabin, the lesser works of Stravinsky and Bartók. Likeable it is definitely not as far as I'm concerned.
Thanks for posting this astonishing work with its score. It's a fine performance, would have been even better if the quartet had respected Haydn's dynamic markings.
First I thought the last piano chord in measure 9 in the first piece was missing in the recording; it's not. It's just very subtle. Another reason one, preferably, shouldn't listen to this with ear-plugs.
@@arielorthmann4061um well then my teacher was wrong to make us analyze this for a twelve tone project. Either way, what you said is a fallacy. I never said I ONLY dislike twelve tone. And i didnt even say i disliked it. I said its awful because i do believe it is objectively an awful genre of music. And anyway, this piece if not twelve tone is atonal and atonal music I would argue is not even music
@@jannettowers6731 either you misunderstood your teacher or they should be out of a job, since these pieces are very much not twelve-tone and cannot be analyzed as such. though i’m curious to see how you ended up analyzing it
@@sebastianwang670 Ya I agree he should be fired for making us go through twelve tone in the first place XD but he's a good guy, so I don't know if I'd actually want him to be fired. I would rather have a change in curriculum where we study actually good and learn how to become good composers instead of twelve tone analyzers. Maybe this piece is set theory, not twelve tone, but it's still awful
@@sebastianwang670 I didn't say I hate it (although I do) I'm saying it's awful music. I do actually believe there is objectivity in art. There is good art and bad art. It's not all subjective. It's not all a matter of taste. There are aspects of art that may be a matter of taste, but even those who are uneducated in music can tell that heavy metal is not objectively as good as Bach or Mozart. That doesn't mean it's necessarily bad to listen to lesser music, similar to how we can still eat fries even if they aren't as healthy as salads. But salads are still objectively better for consuming than fries. How open-minded do I need to be? That is, how many times do I have to listen to this to finally make a good judgment? There's a benefit to being somewhat open minded but a disadvantage to being COMPLETELY open minded about EVERYTHING. As Chesterton said, "the whole point of being open-minded is to find something to close your mind around" namely, the truth. But I could say that about literally anything. Serial killers find appreciation in killing people. Drug addicts find pleasure in drugs. Alcoholics find pleasure in drinking way too much alcohol. That doesn't mean I have to be open minded to being a serial killer or drug addict or alcoholic. You may think it's unfair to compare art and morality, but I believe that the art we consume, both visually and audibly, can have effects on our moral character. Music has a physical, spiritual, intellectual and emotional effect on humans. Heavy metal, especially satanist rock, damages the spiritual aspect of the human. Shallow pop music does not feed the intellectual part of the human soul. This kind of music definitely is lacking in appealing to the spiritual, emotional and arguably physical parts of the soul in a healthy way. It may be intellectual and people who are more intellectual may appreciate it more than Moonlight Sonata or more emotional music, but that doesn't mean it's objectively good music. This music sounds like it was written by a computer, not a human with a soul. I also don't believe that just because an artist makes something original or different automatically makes it good art. Sorry for the rant.
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The first piece reminded me quite a bit of late Talk Talk. I wonder if Mark Hollis listened to this or if it was just a coincidence, given both of them were madly in love with silence
I often listen to this kind of music (2nd vienesse school and others) but i feel I don't get to feel or understand what is happening. People write about these pieces and say they are a condensed masterpiece. The same happens to me with most of the late 20th century and contemporary music, I feel I am not able to apareciate it, with their atonal tendencies and dissonances. Could someone develop his/her opinion on this matter? I'd really like to understand this. Thank you very much :)
It's refreshing that you have such an open mind to music that feels distant from you. I think that the ability to start to connect with this music is that open mind. I could try to go into how I "understand" this music, but I'm not sure that such an explanation would actually help anyone else to appreciate it. I would just say: keep listening (attentively, not as "background" music) and keep your mind open, and it will begin to click.
Corrected comment: I'm sorry but this atonal stuff is bull shit to me. There is nothing beautiful about this to me. To me it's like throwing paint at a canvas and calling it art. Or even better: I don't enjoy pantonal music. I don't find satisfaction in it. It reminds me of paintings in which I can only see randomness. Edit: Yeah, but it's 70% atonal. I think this Second Viennese School stuff is not pleasant to my ears.
On 3 March 1945, news was relayed to Webern that his only son, Peter, died on 14 February of wounds suffered in a strafing attack on a military train two days earlier. On 15 September 1945, back at his home during the Allied occupation of Austria, Webern was shot and killed by an American Army soldier following the arrest of his son-in-law for black market activities. This incident occurred when, three-quarters of an hour before a curfew was to have gone into effect, he stepped outside the house so as not to disturb his sleeping grandchildren, to enjoy a few draws on a cigar given to him that evening by his son-in-law.
The soldier responsible for his death was U.S. Army cook PFC Raymond Norwood Bell of North Carolina, who was overcome by remorse and died of alcoholism in 1955. - Also from Wikipedia. Fascinating. I didn't know anything about Webern's life.
My mind was blown by the dissonance near the start of Var II in the second movement (14:58), where the raised seventh of the ascending D melodic minor scale in the second violin clashes with the neutral seventh of the descending scale in the cello. Privileging the voice leading over "prettiness" in harmonies to this extent really gives this moment a Renaissance flavor to me, and I'm so glad that this cellist places the C natural on the downbeat to accentuate the tension. I browsed around other recordings where they dodge this by placing the grace note before the beat but I prefer this dissonant version so much more!
Way too momentary. There are far more intriguing examples in his contemporaries. See the Talkclassical discussion "Instances of Academics Not Being Reliable (Regarding Music History and Other Things)."
I believe this is a wonderful comparison and a flawless marriage between Taneyev and Hans Pfitzner, I am blown away by their similarities and presentations, I just fell in love with their quartets
The composer’s name is Joseph Haydn. The ‘Franz’ is a baptismal name and should *not* be used, just like you wouldn’t add Johannes Chrysostomus Wolfgangus Theophilus to Mozart’s name - see how silly it is ?
Thank you for giving us this opportunity to listen to a beautifully lyrical chamber performance. I am really starting to admire Taneyev and hope to hear more of his work.
Beautiful. The amount of mud slung at this composer's music during his lifetime and in the decades that followed his death is amazing and disconcerting. But Korngold is now enjoying the popularity he rightfully derserves. Thank you, mæstro. Thank you, members of the Doric String Quartet. And thank you, Sebastian Wang, for uploading this. Your combined efforts make the world a brighter place.
