00:01 Movement I - Presto I 01:45 Movement II - Die liederliche Gesellschaft von allerley Humor 02:32 Movement III - Presto II 03:20 Movement IV - Der Mars 04:27 Movement V - Presto III 06:02 Movement VI - Aria 09:53 Movement VII - Die Schlacht 10:36 Movement VIII - Lamento der Verwundten Musquetirer
@OrganicOrganist It's not even like tritones weren't used in medieval music, just check out Machaut who was literally hired by the church who supposedly banned the tritone. This myth was literally created by heavy metal bands purposefully misinterpreting a metaphorical quote by a BAROQUE and not even medieval composer and counterpoint teacher Johann Joseph Fux (pronounced fooks, not f*cks) in his famous Gradus ad Parnassum, a counterpoint book which, fun fact, is still used today. This misinterpretation was probably inspired by Saint-Saëns's famous danse macabre.
@rafexrafexowski4754 The tri-tone is a very special note and it's presence changes the music. It's 2 note duality is the same note. A composer would be required to work differently in a Lydian or locrian context that doesn't mix well with the typical "Major/Minor" key type of thinking and composition so the tri-tone is neglected in old music simply because people would focus on music that relies on more of a Ionian/Aeolian tonality than the other modes most of the time. Nothing was ever really off the table. The real belief was that the patterns not contained by the Ionian mode and it's contained modes emit evil vibes. So using different exoctic and alternate scales directly was not common practice and the belief has truth to it. This thinking doesn't include chord families that are not in a single scale so they use chord families not in a specific mode with different diatonic Major/Minor scale riffs over the chords as needed. Always a lot of emphasis on harmonies and voice leading.
Everybody talking about second movement but everyone forgets the fourthh, such a great movement not just for a unusual duo, violin and bass, but prepared bass even, which gives it a sort of war drum sonority. This whole piece is great.
In fact, the first movement is very interesting, and from the point of view of harmony is of incredible research, while the fourth is much simpler. However, I do agree that the fourth movement is great
@@amaurystorez1455 the last movement is stunning as well. what a rich and interesting composition - it baffles me that this composer has barely made it into the collective awareness of music lovers today, despite being an international rock star at his time. he even was elevated into nobility by the emperor due to his musical achievements.
The awkward moment when you're listening to baroque and suddenly it goes post-tonal after the first movement, but nonetheless the second movement was fire, you should upload Carlo Gesualdo Tenebrae Responsories for Holy Saturday with the choral ensemble Tenebrae performing them, those have some compositional techniques way too out there for the renaissance era.
1:50 "cabbage and beats have driven me away, had my mother cooked meats perhaps I'd longer stay" in the third violin part. Bach also quotes this folk tune in Goldberg Variation #30.
Lance Hendrickson Polytonality typically refers to using keys that aren't derived from the same key (such as the dominant and tonic) at the same time, so pieces like fugues typically aren't classified as polytonal. If you listen to the second movement of this piece and then Bach, you'll hear the difference.
Dresden Boguslavsky Yes you did, but .... The title of that movement is "The dissolute society of all sorts," and the note in Latin at the bottom of the second page of the score says "Here all voices are at variance, as different songs are being roared out simultaneously"(in Susan Sontag's translation). Unlike a modern composer who might be trying to show that two or more tonalities might work well together, Biber is simply depicting musical (or unmusical) chaos. There's a 16th-century lute piece by Heinrich Neusidler called "Der Judentanz" that similarly uses different keys for the melody and accompaniment for an exotic effect. And of course there's William Billings' "Jargon" for four voices, uniformly dissonant from beginning to end, clearly intended to sound awful.
Legend has it that Biber had built a time machine to time travel to the 20th century at some point in his life to write this piece, and then went back to the 17th century to premiere it.
Alright since everyone’s doing the “everyone’s talking about X, what about Y?” thing, I guess I’ll join in and point out the GORGEOUS and harmonically inventive final movement. And the first violinist blew the ornamentation out of the park. Simply perfect flourishes that feel like they were meant to be there and never take away from the beauty of the line, but add to it. Bravo!!! 👏🏻
Très belle page de la musique descriptive, cette 'batalla' nous révèle un spectre sonore inouï, avec ces changements de rythmes syncopés, alternant pizzicatos et autre tournures mélodiques, allant parfois jusqu'à la dissonance... qui relatent brillamment, les phases d'une bataille, dans une lumière dynamique, des ténèbres dans un calme inquiet... Jordi Savall, nous restitue avec chaleur et simplicité, ce chef d'oeuvre de Biber !
Has anyone noticed in the II movement, third violin? It's " Kraut und Rüben haben mich vertrieben", one of the themes of 30th Bach's Goldberg variation (quodlibet).
I imagine making any of these videos would be boring but I really appreciate the work. And now I have something new and really interesting to try to understand.
@@musik350 yep, but Biber made it so that initially it just sounds unusual, rather than immediately going for the kill and playing a bazillion clashing notes at once
@@oscargill423 Ives' use of polytonality has nothing to do with this, it's incomparable. You could perhaps compare it to some works by Darius Milhaud (études for piano and orchestra, fugue) or Szymanowsky (first string quartet, scherzo)
@@arielorthmann4061 Well I compared it so... comparable. Also Biber sought mimicked the sound of drunken sailors all singing in different keys at the same time... very much like Ives' style. Sure the stylistic features may be different, but the context is eerily similar.
It's using baroque tuning, which is about a semitone below modern tuning. Most modern tuning uses A4=440Hz, while many Baroque performers currently play at about A4=415Hz.
The second movement! Just... wow... Avant garde is a new thing? Gyorgy ligeti was original? My ass!!!! Now i know that someone had those ideas 300 years before Ligeti and all those "avant garde" composers.
Ligeti and the rest of Darmstadt WHERE original, nothing even remotely similar has been written before or after. Contemporary classical has continued to develop by focus on completely different aesthetics
Saying that they're similar just because of dissonance or polytonality is ridiculous. Ligeti is a master of orchestration and unique textures and the way he calls for that by specifying the balance for each part makes his scores incredibly intricate
Biber's idea was different from Ligeti's though. Biber simply lets many tonal parts play together in different keys. The idea is that either different troups on the battlefield play simple, differently keyed melodies, or that the intonation is so bad that the key is unrecognizable. Ligeti achieves dissonance by forgoing traditional tonality completely, roughly speaking.
Everybody talking about how in the second movement Biber already knew that 20'th century music is joke... Well, no. The whole idea behind the joke is that some music in the era was simply written for different tuning on the strings, but not many people know these scores today, neither do I, cos I don't play any string instrument. But... Hahaha
Not accurate, according to all sources I could find the players are meant to be depicted as drunk, uncivilised and chaotic. No idea where you got your interpretation from.
Yup, the second movement sounds like some twentieth century stuff (hello, Schnittke!). At least Biber was correct in recognizing such things are a joke and not worthy of hours and hours worth of exploration. The rest of this was dull as hell except for the somewhat bizarre chromatic line at the end (vi - IV7 - V - I ...???).
What church came along? No church told Bach, Beethoven or Liszt how to write music. The single intervention of the church in 1200 years of Western music history is the counter reformation, and even that did not stop protestants from writing chorals in german and certainly didn't make the music more formulaic than it already was. Not a big fan of the church; not a big fan of misinformation, either.
Unfortunately, only a philistine would wish someone's death simply because they do not like one movement of one piece they composed. Additionally, do note that Biber himself probably did not think this sounded great; it sounds like a rowdy pub with drunk singers, and that is what Biber went for.
