Arnold Schoenberg's cantata performed by Bamberger Symphoniker, conducted by Horst Stein, Hermann Prey (narrator. Score published by Bomart Music Publications and Belmont Music Publications.
I don't blame you at all man haha Schoenberg had some good pieces, but the way music scholars put him on a pedestal and parade him around as "the future of music" is a real turn off.
"music scholars put him on a pedestal and parade him around as 'the future of music'" Most music scholars don't do this, and Schoenberg never said "12-tone is the future of music." He did not want the 12-tone method to replace tonality, and composed tonal, as well as atonal, music right up to the end of his life. He was a professor at UCLA for decades, and only taught the 12-tone method to a handful of students. Almost exclusively, he taught traditional harmony and counterpoint. In fact, he turned away virtually any student who approached him wishing only to learn to compose atonal music. I think if Schoenberg were presented as just another great composer rather than "the inventor of a system", with dozens of misquotes and false assumptions and accusations, he would be appreciated by many more listeners. Unfortunately, "Music Appreciation" classes usually only have time to present his most radical works, so it's no wonder so many come away with such a distaste for him.
Shalom Amos, me too, we did this piece in our highschool music class the piece being an example of serialism which I only understand. There's a composer called Nigel Butterly who wrote little pieces for children or adults. I must go and buy this I want to listen it with a can of beer in my hand. Anyway I think the man gets to go to Israel.
Well, our music gteacher understand that and I key word is Academics. Academics want to make things black and white. The real pitty is that other composers never got a look in in the modern period. It's a bit like pop music today or yesterday. Listen I've never anybody say that they hate schoenberg or have distaste for him, you should write an essay about this, thik about doing that or a piece for a web site. I'd read it
I watched this because I'm writing a term paper for my music history class. I did not expect to be as impressed as I am. As a Jew, I think this is an extremely powerful representation of the pain the Jewish people experienced during the holocaust and I'm so glad that I stumbled upon it.
I am a Jew as well and I tear up from this because I am alive because of a Holocaust survivor in my own grandparents. To add another twist to this, Schoenberg’s atonal style was predicated on the persecution of the Jews and other rejects by the ruling society and was likewise a grassroots art form for us Jews that concurrently and interconnectingly had a close cousin the grassroots music of the African American rhythm and blues this grassroots style in particular ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-5EzN3fhA_Do.html
This music touches my heart so deeply! The way the choir relates to the orchestra at the end is unique... it ilustrates the tranquility that an old religious song brings in the middle of an outrageous world. Schoenberg is truly a genious
Moving. Arnold shows here that he is not just a masterful manipulator of tones but a deeply caring man using music to convey the deepest atrocities and pains of the human soul. What s brilliant composer he is/was! Outstanding performance as well. Danke schoen! Schoenberg!
Heard it first 25 years ago in music class in Germany. Went immediately to my head and stucked there. Name oft the teacher long forgotten still remembering this outstanding piece of music. I guess you could call it the power of art. The teacher played us a lot of stuff but only a few pieces really stuck out. Besides Schönberg, Gesang der Jünglinge im Feuerofen by Stockhausen and Pacific 231 by Honegger, all three masterpieces of the modern age.
@@funlesbian Yes. We should absolutely be concerned with whether those decades from now can tell the difference between the minuscule differences that delineate one nearly identical form from another. This is how one develops expertise. Without it education is just a goal toward mediocrity.
It's an interesting bit of history. The Bamberg Symphony was formed largely by former players of the German orchestra of Prague, where there was a large German minority before 1945. Some of the players in the orchestra at the time of this recording may still have been Czechoslovak Germans who were exiled after the war because they were viewed (fairly or unfairly) as collaborators. Others fled voluntarily to escape communism. For this German orchestra in particular to play Survivor from Warsaw was a major statement.
The great cellist, Felix Wurman, took me to a Shoenberg concert in which he played. it was incredible. . Felix passed away several years ago when a holistic healer failed to diagnose cancer and treated him with herbs and potions while the cancer metastasized and finally robbed the world of an amazing musician and a wonderful man. seek holistic healing if you must, but get an MRI first.
Preživeli iz Varšave. Arnold Schonberg. Grozeča, neljubka, težka. Orkester, moški zbor in pripovedovalec. Glasbeno delo za pripovedovalca, moški zbor in orkester. Ekspresionizem. 12-tonski kompozicijska tehnika ali dodekafonija, temačna čustva in govorjeni glas. Besedilo, izvajalci, zvočna barva.
27 January is an International Day of Remembrance for the Victims of the Holocaust. NEVER AGAIN !! I lost most of my family, my father was the only survivor of his large family.
@OldSchopenhauer It has musical value because it was one of the fully orchestrated uses of 12-tone row, and it used sprechstimme, which are both modern concepts. I wouldn't listen to it all day for the heck of it, but without 12-tone row we wouldn't have modern horror music, and sprechstimme is an actually unique sound, even if it isn't used very often. Everything has a place in history, even if that place is unpopular.
This really drags the anchor of my russian fishing boat. In a way that totally compells my shallow seasons. The way he uses all 12 tones are to me an odyssey both in mind and limbs. Can it be more schörtageous? Does anyone agree?
La grandezza dell'opera fa dire a Milan Kundera che "si tratta del più grande monumento che la musica abbia mai dedicato all'Olocausto". E che "tutta l'essenza esistenziale del dramma degli Ebrei del XX secolo è in quest'opera viva e presente. In tutta la sua atroce grandezza. In tutta la sua bellezza atroce. Ci si batte perché degli assassini non vengano dimenticati. E Schönberg, lo abbiamo dimenticato"
@SL538 in germany he wanted to be called Schönberg , but in the time , when he lived in californien he wanted to be called Schoenberg ;-) (spoken its the same )
I like Wozzeck as well, and yes they R somewhat comparable. Point well made. I'm glad that there is dialogue about this great music. Perhaps the accessibility of Schoenbergs piece is that it is brief by comparision. I cannot get any of my contemporaries to sit for more than 15 minutes much less have a discussion of the work! Thanks!
@SL538 in germany he wanted to be called Schönberg , but in the time , when he lived in californien he wanted to be called Schoenberg ;-) (spoken its the same ) ... sry because of my bad English ^^
Schoenberg's Opp. 1, 2, 3, 6, 8, 12, 13,14,15, 20, 22, 27, 28, 35, 39, and 50a are all sung pieces either with accompaniment, or by a capella chorus. The stage works Erwartung, and Von Haute auf Morgan are all sung, no sprechstimme. Op 50b is a mix of singing and speaking. The opera Moses and Aron has one sprechstimme role. Only the 2 pieces you mention plus Pierrot Lunaire use spoken word exclusively.
I’ve got this in my Apple music library (about 30% because I actually listen to it and 70% to show off), and that shit somehow got classified into the “electronic music” section, I don’t know how.
I first heard this on an LP back in the 1980s, one of the few serial/atonal works of Schoenberg that seems instantly accessible, and a moving and powerful portrait of the Jewish suffering and resolve during WW2. While this version is sufficient and without taking a thing away from the wonderful Hermann Prey, the version by Gunther Reich under the baton of Pierre Boulez does a better job of capturing Schoenberg's ideal of "song-speech", not really narration, but not really singing either. While pop singers seem to have no problem with it (i.e. "Sultans of Swing") classically trained singers find it difficult.
Can anyone please provide an accurate translation of the spoken German? I've tried "babelfish" translator but some words are untranslatable or just make no sense. Thanks for any help.
I dont see how that is bad quality...but I'm curious to know why you said that. My thoughts: Funny that now I'm a bit older, I am now able to appreciate what Arnold did: he captured such profound emotions without using the 'beauty of tonality'. Some experiences are beyond horrid for minor keys =/
