Pierre Boulez directs the Radio France Philharmonic Orchester on the Transfigured Night composed by Arnold Schoenberg (original title : Verklarte Nacht). Concert recorded in the Salle Pleyel, Paris, february 20th 2009.
I've loved classical music all my life (I'm 90 years old) and this is the first time I've heard Schoenberg's music. I'm overwhelmed by the lush sound of this piece. 'Lush' is the closest word I can think of to describe it.
Hi Norman, This is perhaps the most romantic work that Schoenberg wrote under the influence of Wagner. His next works sought to depart from tonal harmony and established the dodecaphonic system that some defend perhaps by snobbery. If you are a lover of good music I don't recommend you that dodecaphonic style, that is cerebral but doesn't reflect any feelings. Greetings.
@@bortkievitch I totally disagree. Schoenberg's atonal music was by no means void of feeling. Go back to the saccharine teat of Romanticism if you can't digest the complexities of atonality.
Kaeear i hope your is not a rhetorical question because I have an answer for it. Of course I have no problem with some people not liking dodecaphonic works, but to go around telling people not to listen to them (as if one could get hurt listening to them and not liking them) is pure nonsense. If the guy follows his advice he could miss out on some pieces that he might actually like, whereas he could have just said “I don’t like them, check them out and see if you do”. Of course all of this was not included in my original comment , just because it seemed to me that someone else had already defended this point :)
I remember the shock I had years ago when first hearing this work. Expecting something of the ‘modern’ approach I was bowled over by this beautiful, romantic masterpiece. Superbly done here.
@@ericoschmitt Schoenberg He wrote the cantata Gurrelieder, which is one of the most beautiful and stirring pieces in the whole Romantic repertoire. But he couldn't have simply continued like that: romanticism had gone as far as it could. If he had not broken new ground his music would have become stale and repetitive. He said: "Somebody had to do it, so I let it be me." Even after inventing the dodecaphonic system, he occasionally wrote works that were wholly or partially tonal.
Gustav Mahler grasped the dissolution of the individual within civilizations. Schoenberg, along with Webern and Berg, sensed that music could only evolve into something else and was heading towards the end of sound: the atomic bomb. It's a pure coincidence that Gould intervened in the middle, between the West and the East, to soothe spirits with the music of J.S. Bach. Furthermore, the genius Glenn Gould is making a comment here on dodecaphony. Part One : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-m7MeVp_RYBY.htmlsi=W1GLisEeL3E8K9KT Gustav Mahler a saisi la dissolution de l'individu au sein des civilisations. Schoenberg, avec Webern et Berg, a pressenti que la musique ne pouvait évoluer que vers autre chose et se dirigeait vers la fin du son : la bombe atomique. C'est une pure coïncidence que Gould soit intervenu au milieu, entre l'Occident et l'Orient, pour apaiser les esprits avec la musique de JS Bach. Par ailleurs, le génie Glenn Gould fait ici un commentaire sur le dodécaphonisme.
Étrange musique, intense, tendue, puissante, tendre et brutale à la fois, tellement éloignée de l’apparente froideur de Boulez. Il doit certainement ressentir qq chose… certainement…
Oui c est une question que je me pose aussi mais ce grand musicien et chef d orchestre Mr Boulez que ressentait - il donc a l epreuve d une telle musique c est tellement beau le contraste est saisissant
Formidable interprétation. Je n'entends que la musique. Je suis envahi par cette musique. Boulez a disparu. Schoenberg a disparu. Pure musique. Großartige Interpretation. Ich höre nichts als die Musik. Ich bin von dieser Musik überwältigt. Boulez ist verschwunden. Schoenberg ist verschwunden. Reine Musik. Great performance. I hear nothing but the music. I am overwhelmed by this music. Boulez is gone. Schoenberg is gone. Pure music.
énorme ! On est plongé dans des climats musicaux emplis de sentiments, de sensations, se souvenirs , immense compositeur que Arnold Schoenberg , et orchestre dirigé par ce géant musicien qu'à été Pierre Boulez ... Merci à France Musique ,infiniment .(un musicien professionnel )
Grâce surtout à l'exceptionnelle clarté de sa direction ! Ainsi dirigée, l'œuvre paraît même facile, ce qui est évidemment faux… et n'oubliez pas dans le même esprit les admirables Métamorphoses de Richard Strauss…
A most beautiful, luminous rendition of one of the most beautiful things AS ever wrote! That luminous quality is typical of Boulez - his conducting of Wagner is astonishing. Of course, all the work is done in the rehearsals, he seems to do very little on stage, but the effects he gets are just wonderful!
Sublime… Un monument de la musique, qui fait la transition, y compris dans l'oeuvre de Schönberg, entre le classicisme et le modernisme. Un testament, tragique et virulent, que Boulez transcrit comme nul autre en harmonies bouleversantes et captivantes d'un bout à l'autre… En fier héritier, comme tout maître compositeur, ce dernier rend très sobrement un hommage haut en couleurs, chatoyant et fidèle aux contrastes torturés de cette oeuvre ô combien insurpassable dans son hyper-romantisme, sauf par l'absolu détachement d'un Bach. Un moment d'une infinie poésie…
Klare und detaillierte Aufführung dieses perfekt komponierten Meisterwerks mit seidigen Tönen aller Streichinstrumente. Der intelligente Maestro dirigiert das ausgezeichnete Orchester im gut phrasierten Tempo und mit sorgfältig kontrollierter Dyamik. Echt cool!
Assistere alla direzione dell'orchestra da parte di un grande compositore e teorico del '900 come Pierre Boulez è di per sé una grande emozione. La nuit transifugurée di Schoenberg risente dell'armonia di Wagner , ma non in modo pedissequamente meccanico come per molti autori di quel periodo. E' già presente la creatività poetica e armonico- strutturale che si manifesterà nelle opere successive e , in generale, nella nuova musica dodecafonica , che troverà il suo massimo teorico creativo in Schoenberg e l'ezzenziale in Webern. La musica emoziona come un notturno leopardiano.
If he "destroyed it" why is it still around? Many composers continued to write conventionally tonal works long after Schoenberg had rolled out his new system, and that includes Schoenberg himself! Eventually, almost all composers abandoned the 12-tone system except for occasional use, but it had served a useful purpose, clearing the ground for fresh new 20th-century styles rather than simply continuing to imitate Wagner or Brahms. Arnold Schoenberg was a major figure in the history of serious Western music.
parmis les grandes oeuvres pour orchestre à cordes , s'impose " la nuit " de Schoenberg la sérénade pour cordes de Dvorak , le sixième Brandebourgeois , Bartok danses roumaines le final en pizzicato
All of Schoenberg's work was a logical progression from this and his other early pieces. Mahler reached a certain place and stopped. Schoenberg carried on, and made modern music.
Yes, and the premiere in March 1913 of his following piece became a historical event known as the "Watschenkonzert" ;-) (slap-in-the-face-concert in local viennese) because, as one of the witnesses stated, "the noise of the slap in the face was the most harmonious sound of the evening". Haha. The audience, after the former great success of "Verklärte Nacht" expected anything else than his Kammersymphonie No.1, Op.9, the strike of a new era in music. Its reaction is plausible to me, after this miracle of beauty we are listening to. .
@@LendallPitts No. Mahler didn't reach a certain place and stop; he reached a certain place and then died- and at the comparatively young age of 51. If you are at all familiar with the tenth symphony, then you should know that the progression was continuous.
Una mujer confiesa en una noche triste que ha sido infiel y qué espera un hijo de esta infidelidad y muy fuerte el esposo la perdona y el amor que se siente en ambos se extenderá al hijo que espera este argumento del poema de xmen, se abre paso de poco a poco con el increíble movimiento artístico que quizás será la verdadera base del arte del siglo 20 al menos en su primera mitad que se llegará al denominar expresionismo alemán punto
Ah... Le pourricitaire pour interrompre (deux fois ! ) le flux musical... c'est la première fois que je subis ça... C'est une première ? Je ne sais pas si la personne ici responsable se rend compte de ce que cela a d'intensément stupide - je ne dis pas d'un point de vue musical (elle en ignore tout), mais du point de vue commercial - pour lequel elle doit sûrement se penser très compétente ?
Bonjour, l'éditeur de cette partition a choisi - sans que nous ne puissions rien y faire - d'ajouter de la publicité sur cette vidéo. Nous ne pouvons (fort malheureusement) rien faire contre cela. Cordialement,
L'éditeur ? Universal Edition ? On sait que ces gens-là sont des épiciers bas du plafond (il se trouve que j'en sais quelque chose), mais ici, n'est-ce pas Google le seul responsable (coupable) en dernier ressort, de ces insanités cupides ?
Love the way the score is turned to face the audience during the applause..... But disappointed that the camera person insists on attending to detailing individual parts at the expense of showing the orchestra in full view, especially from 18:12 where we really need to see the textures flood the entire orchestra..... its boring but all too common for camera people to visualise orchestral works vis a vis solo performers. I'd prefer an ideal seat in the concert hall.
I have a love-hate relationship with this piece. During the first half I feel a super charge of emotion, the second half I tend to fall sleep most of the times, I can't even recall how it ends
Interrompre de la musique classique par de la putricité, c'est un crime contre la culture, pourritures de publicitaires youtubesques, vous ne respectez rien.
“The saccharine teat of Romanticism”? As if there’s sin in that? To prefer music from the 1800s And all is lost in class? What snobbery inheres within A person who claims to have The answers to what soars MY soul, But his soul does not salve. So tell me not what I “should” like Or music I “should” curse. ‘Tis best to leave it up to each; To pontificate is worse!
The work is made in the rehearsals, where the conductor says what the orchestra must do. In the concert, the conductor waves his hands to indicate whatever they did in the rehearsals. Being a conductor is not easy, and being a good conductor, such as Boulez, is harder. There is a rehearsal of Boulez conducting something by Alban Berg. I suggest you watch it and change your mind about a conductor's purpose in an orchestra.
@@fjjt5897 "...where the conductor says what the orchestra must do." Sometimes, sometimes not. I've played in orchestras for 63 years, with some of the greatest conductors. I should know. If you compare Boulez' early recordings with the later ones played by some of the best orchestras in the world, it was always apparent to me it was then that Boulez was considered a 'great conductor', which he never was. A friend who worked in the New York Phil. in the 70's told me that Boulez only worked on technical things like balance, intonation, and rhythm, nothing ever about musical matters or musical narrative. And there's more to musical matters than balance, intonation, and rhythm. For me this performance of Schoenberg is totally lacking in passion. Boulez' approach was: whatever is on the page, the composer's intention will emerge. Mahler said, "Music only begins with the notes."
@@noah129mc I've played with Leonard Bernstein, Zubin Mehta, Riccardo Muti (and recorded), Wolfgang Sawallisch, Yuri Temirkanov, Lorin Maazel, and others. I've played in orchestras for over 60 years. I'm sorry to say that excllent orchestras made Maestro Boulez look good, and I've heard it directly from numerous orchestral players. He was a conductor with zero interest in musical narrative and scant interpretive abilities. He conducted what he saw in the score. Period. But as Mahler remarked, "Music only begins with the notes."
@@jaakkooksa5374 that’s your subjective opinion, but I stand with my previous statement: he, as a composer, is one of the most influential and leading figures of the last 100 years. And that’s an objective fact, whether you and/or I like his music or not
