in 1900, stravinsky and bartok were still a couple of teenagers yet to be recognized as composers at all, let alone among "the most talented composers of the last half of the 19th century".

Um documentário muito importante. O século XX trouxe mais dúvidas do que certezas para o universo musical, sendo por isso mesmo um dos séculos onde mais avanços houve na linguagem. O próprio sentido do modelo composicional é a relação compositor/ intérprete terminou por fragmentar-se, deixando o enigma de como escrever, para quem interpretar é mais anda, quem ouvir e extrair algum sentido… Diante de tudo isso, pessoas como Schoenberg são verdadeiros baluartes , faróis que apontam caminhos a seguir , mesmo em suas incertezas… 🌎🎶☀️

Subtitles have now been added. Click CC to include in the video.

@thomasfortnerconductor

3 жыл бұрын

Larry, this video is fantastic, and thanks for adding the captions. Comes in very handy in my research! Any chance you are related to the composer?

@larryschoenberg3253

3 жыл бұрын

@@thomasfortnerconductor yes, youngest son.

@nidhishshivashankar4885

Жыл бұрын

@@larryschoenberg3253 his books Style and Idea and Theory of Harmony changed my life!

@thomasfortnerconductor

Жыл бұрын

@larry schoenberg I’m currently at the Schoenberg center in Vienna. I see your picture with your dad. Very cool.

What a great historical document this is!

What an absolute musical gem for any composer, theorist, performer and lover of Schoenberg's music! God bless you a thousand times for this video! And god bless the compiler(s) of this video for including concisely notated musical illustrations!

This remains one of the best Schoenberg films or videos.

Classic ❤

Brilliant documentary

thank you sir for this incredible document

Thanks for this upload!

Thank you for this fantastic video!

Brilliant! Thank you.

Good job! 👏 👏

EXCELLENT. Thanks for posting.

Very nice indeed!

Hats off - the musical examples fit perfectly with Schoenberg's dialog

Sin duda una referencia de lo que es el camino del artista/compositor... Todos sus esfuerzos naturales por justificar su obra y sus acciones y todo lo que lo antecedió, se resumen en ese monólogo final. De una forma humilde y clara expone el camino que vivió como parte del fin e inicio de una era. Admiro mucho su obra y su sentido laxo en sus obras. Un compositor heredero de su tradición y un aventurero por naturaleza.

Grazie!

What a genius!!!

It is evident that all the musical examples were added after the fact to the recording of the lecture. I wonder what they are replacing? It would be interesting to hear the actual recording.

Can someone please clean up the source tape? The hiss is charmingly nostalgia inducing, but I’d love to listen to it without struggling so much

This is genius!

Fun fact: the composer, Franz Schmidt (1874-1939) was the second cellist at the Viennese premiere of Verklärte Nacht. The work clearly stayed with him; you can hear hints of it in Schmidt's Fourth Symphony, composed 30-odd years later (which, while written for a large orchestra, has a chamber music-like delicacy of scoring): kzread.info/dash/bejne/c3113M2IZpPZh8Y.html

Hey guys! Im writting a paper and wanted to use Schoenberg's speech (some parts) as reference in it. Does anyone here know by any chance how should I cite it? Any link to the original material (year of, etc) would be greatly appreciated!

@ManuelRequena

Жыл бұрын

I also just want to say that whoever uploaded this video rocks! Thanks for sharing this.

@garrysmodsketches

8 ай бұрын

​@@ManuelRequena it was uploaded by no other than Arnold Schoenberg's son, Larry Schoenberg! Look at the channel name

Is there a way to add subtitles?

@larryschoenberg3253

6 жыл бұрын

Just starting to add them. By the time I finish I will know how to do it!

what is the piece being played right at the beginning please?

@anthonycook6213

5 жыл бұрын

Verklaerte Nacht (Tansfigured Night) for string sextet, Opus 4 (1899).

Schoenberg tried to impose an Apollonian order and control through these monsterous abstractions, all the while sounding Dionysian. Controlled madness.

shernber

I believe in Bach and Shoenberg and Stevie Wonder

One thing is evolution and another degradation.

@kgroveringer03

11 ай бұрын

That's exactly what the Nazis said about Schoenberg and his music. They called it "degenerate music", something you seem to agree on. I hope you're not some kind of crypto-Nazi?

@carlosenrique5299

11 ай бұрын

@@kgroveringer03Lady. Please... Nothing could be further from Nazism on my part. How do you come up with it?

@irabraus9478

9 ай бұрын

@@carlosenrique5299 Can you explain why you believe, say, Schoenberg's Piano Concerto degrades music?

@carlosenrique5299

9 ай бұрын

Indeed, Schoemberg's Piano Concerto Opus 42 compared to Boulez's Sonata No. 2, for example, is a delicatessen. But, what is the tonality of this Schoemberg Concerto? Music is mainly tonality: that is what gives it tension, intensity, delicacy, solemnity, sublimity and, in general, full symbiosis and communication with the audience. That is Music. Schoemberg, although he uses the twelve-tone principle of not repeating notes until the different 12 notes of the 12-tone scale have been exhausted, in the harmonic lines, he is forced to break that principle, which is why his "music" sounds "relatively good". in the middle of that maze. On the other hand, the dodecaphony is an impossible fallacy, since, if you do not want to stop repeating the series of 12 notes at any time, the piece would be an endless and unbearable series of streaks in the same order of said 12 notes, and that never happens luckily yet. The series, in its main line, are always altered and cause repetition of notes. On the other hand, imposing a mathematical criterion on an artistic process lowers the artistic to the extent that the mathematical grows. Mathematics is not inspiration and even less, when it moves away from the natural harmonic physical phenomenon, contravening any proximity to the most natural intervals. Certain atonal turns can be used to create tension, but always within a tonal discourse. When atonality is systematically and perpetually pursued, the tension fades, generating disorientation and chaos. A paradigmatic example of what I am saying is found in Schoemberg's own Wind Quintet Opus 26. No matter how much you listen to that Quintet or Piano Concerto you mention, you will never be able to remember a single "theme". In other words, neither the Wind Quintet nor the Schoemberg Piano Concerto are not memorable compositions. Yes, his Gurrelieders, his Transfigured Night, his Pelleas and Melisande, his two Chamber Symphonies and some other works are. The rest, as experimental works, have their undoubted value, but as artistic products they are not comparable to the works of his early days and a few other later ones. In those beginnings Schoemberg was on the road. A pity, for Schoemberg and for the Second Vienna School, the Darmstadt School and other spawns that emerged from the intrusion of the mathematical and pseudo-intellectual in the magic of the artistic process. What happens with the current sounds or with the features of the paintings at the present time is that it is no longer known for sure what has quality and what does not. If we followed the same process as "contemporary" painting and music, in the literary field, for example, we would not understand any written work. Labor contracts, works contracts, commercial contracts, laws, etc., would be unintelligible. In restaurants they would put us food whose composition would not allow us to clearly distinguish the flavors or taste anything. In furniture and appliance stores we would buy trapezoidal, ovoid and whimsical but barely functional formats, and the appliances would do the functions they wanted, not the ones we needed. In theaters they would show us movies without a plot and without meaning (there already are). In short, we would not know where we are going or what to expect. I do not extend more. I think I have reasoned the matter enough to make it clear.@@irabraus9478

@LearnCompositionOnline

9 ай бұрын

@@carlosenrique5299music can be beautiful beyond tonality. The tonality is not destroyed by atonal music