People never do detailed analysis of motivic development. This topic is glossed over so often, saying "(X) composer develops this motif in many ways" without elaborating further. A concise look in to how motivic development functions is rare and this video fulfills that need. Great stuff

@mattia.a_p

8 ай бұрын

Hey Jordan, I somehow missed your comments! Thanks a lot, I’m glad you enjoyed the videos

Me ha encantado el análisis del Opus 11 de Shoemberg. Me admira tu conocimiento y seguridad. Gracias. Gloria.

@mattia.a_p

2 ай бұрын

Gracias Gloria!

Very interesting! Thank you for this video

@mattia.a_p

7 ай бұрын

Thank you!

Well, I don't know how much you absorb from Brinkmann, but I find that this it's a fantastic work. Great analyzing, with sensibility, deepness, intelligence, respect and at all times, great love for Schönbergs composition. It was big fun to watch. Bravo!!!

@mattia.a_p

3 жыл бұрын

Thank you very much! :))

Wahrscheinlich das beste Video auf Ytube für die Einführung in Schönbergs Kunst. Sehr schön gemacht und weiter so.

@mattia.a_p

3 жыл бұрын

Wow vielen Dank! Das nächste Video kommt bald!

Bravo Mattia!!! Was für eine unglaubliche Menge an tollen Informationen! Und weiß Gott nicht nur für Pianisten interessant. Ich bewundere dich, wie mühelos du sprechen kann, ohne dich einmal zu verhaspeln! Großes Kompliment :) Joyeuses Pâques 🐣🐇

@mattia.a_p

3 жыл бұрын

Lieber Ulli, das freut mich wirklich sehr, dass du das schreibst!! Ein nächstes Video kommt bald :) Ich vermisse es so euch zu hören! Hoffentlich bis bald

What a brilliant and sensitive analysis, like your playing! Bravo and thank you Mattia!

@mattia.a_p

3 жыл бұрын

Thank you Minh Quyen!

Very well summarized and presented! Thank you very much!

awesome

Very good! Thank you!

Thanks so much for sharing this Document. Bravo Maestro!

Very nice, very interesting analysis! Looking forward to your next video!

@mattia.a_p

3 жыл бұрын

Thank you! I'm working on it!

awesome!

@mattia.a_p

2 жыл бұрын

Thank you Pedro!

i wish to be as captivating and well spoken as u .. never stop making these videos !

@heavenly6

2 жыл бұрын

also what do u think of ryuichi sakamoto ? a flower is not a flower, lack of love, and andata are my favorites

@mattia.a_p

2 жыл бұрын

@@heavenly6 Thank you!! I actually don’t know these pieces. Will check them out later!

Impressiv ! Bravissimo, Mattia !

@mattia.a_p

3 жыл бұрын

Merci Vinh!

Thank you, thank you so much for uploading this, this is very helpful and the analysis is interesting and amazing! I am your 100th subscriber! :)

@mattia.a_p

2 жыл бұрын

Thanks for your comment! It means a lot to me. And thanks for subscribing! I’m at 99 so someone must have unsubscribed haha. Get a friend on board! I’m constantly working on new videos but they take so long to make. More content is coming soon :)

neuer Lieblingskanal!

@mattia.a_p

3 жыл бұрын

:’)

Excellent video that has helped me further understand (and appreciate) this music. Thank you!

@mattia.a_p

2 жыл бұрын

Thank you! That was my goal so I’m very happy about that!

Thank you for this incredibly helpful video!

@mattia.a_p

3 жыл бұрын

Thank you for the comment!

This is very helpful, thank you so much for having this rare content. and please add subtitles

@mattia.a_p

Жыл бұрын

Thank you! I’ll check out your content as well. Maybe the automatic subtitles might work, I’m going to try

Bravo! Great presentation! Wishing you lots of success for your future videos! :)

@mattia.a_p

3 жыл бұрын

Thank you very much Yahya!

i learned so much! thank you!

@mattia.a_p

2 жыл бұрын

I’m very happy about that!

Prima!!!

@mattia.a_p

3 жыл бұрын

Danke Helmut!!

Great!

@mattia.a_p

3 жыл бұрын

Thanks!

First time hearing his voice

Vielen Dank für deine Analyse! Ich habe mich gefragt, warum Schönberg zu beginn des 3. Stücks (T. 1-3) ein drittes System einfügt. Geht es hier darum, die drei verschiedenen Stimmen herauszuheben, oder ist das eine Sache der Lesbarkeit? Ich freue mich über eine kurze Antwort. Liebe Grüße!

Great video!

@mattia.a_p

3 жыл бұрын

Thanks Paulo!

Excellent

@mattia.a_p

3 жыл бұрын

Thanks so much!

@mattia.a_p

3 жыл бұрын

Thanks so much!

Would love for you to do an analysis of the Zwei Klavierstucke

@mattia.a_p

3 жыл бұрын

I don’t think that I will cover another Schönberg piano piece sorry

Dankeschön.

Greetings Mattia. Love this piece and your discussion of it! Who is the theorist (or pianist) that refers to the outburst sections as disintegration or disorganization fields? I can't seem to locate him on Google.

@mattia.a_p

Ай бұрын

Thank you Ronald! It’s Reinhold Brinkmann, it’s written in the description.

@ronaldhess3496

Ай бұрын

@@mattia.a_p Wonderful. Thank you so much!

the reason for B flat in bar 11 is to avoid the tonal chord G7. with B flat we get minor and major triade at once.

@mattia.a_p

5 ай бұрын

hm yes, but I think it was more of a motivic/melodic decision. It's the inversion of bar 3

@LuisKolodin

5 ай бұрын

@@mattia.a_p It can be both, and finding another explanation only shows how well structured it is. Everything converges.

@mattia.a_p

5 ай бұрын

yes definitely @@LuisKolodin

geiles video du brudi

43:50

Any analysis is futile.Schonberg himself said that attempts to explain his works were useless. It's "the flow of his unconscious", nothing is planned. Any attempt at analysis is only there to flatter the analyst.

@mattia.a_p

2 жыл бұрын

I think you’re wrong here. Schönberg said that it’s not very interesting to just determine all the rows in his twelve tone pieces because it tells you nothing about the actual music (to which I agree). The work I’m talking about is not a dodecaphonic piece. You can analyse every piece by Schönberg and find interesting and valuable musical information. Op. 11 is particularly interesting to me. Schönberg himself was a dedicated and insightful musical analyst and taught all his students the inner workings of pieces by Beethoven, Brahms and so on. And although Schönberg let his “unconscious flow” , all his pieces are carefully constructed. He didn’t just write random notes down. You probably haven’t watched my video but for example the form and the motivic cohesion of the pieces Op. 11 is remarkable. It’s clearly thought through. And even if he let his unconscious flow, Schönberg was a composer who knew classical and romantic music extremely well and he incorporated the musical thinking of older composers he admired. He was so good at composition that he was able to let his imagination flow and create musically “logic” things, sometimes perhaps unconsciously. Although I think he did most of it consciously. But even if it was the case that most of his compositions happened unconsciously, why couldn’t I analyse them? It would still be interesting to see what structures, what trajectories, what forms such pieces would have, how they function and so on.

@1jourviendra

2 жыл бұрын

Why futile? Of course one can even try to analyse how the clouds are changing in the sky or how the waves move. Music, and art in generally, is the result of human brain, not from nature. So such an analysis is very interesting and not futile, even if we are not speaking here about THE truth. It is just ONE analysis made with an extrem high knowledge about music history and technic.

@beecolor

2 жыл бұрын

​@@mattia.a_p Construction is not necessarily synonymous with consciousness, which is where you are wrong in my opinion. Construction can come from a sense of unity, the elements build themselves... See for example Debussy or Bartok to whom many things have been attributed, the golden ratio etc. But no, it often came from the inside, not from the intellect (although the intellect plays an important role) . But you are right: it is not forbidden to analyse what you want!

@mattia.a_p

2 жыл бұрын

@@beecolor I don’t confuse construction and consciousness. The things I analyse in my video are definitely conscious compositional decisions. Schönberg didn’t accidentally write canons with the main motif of a piece or variations of an important figure, he wasn’t unconscious that he was using an ostinato or that pp is a contrast to ff. I think the unconscious Schoenberg meant is more related to the expressive quality of the music. What the music expresses is a reflection of his inner life. And yes, that’s what I meant, sometimes composers do things that turn out to be surprisingly constructed although they hadn’t planned it. They have internalised musical language and architecture on a very deep level. But like I said, most things I talk about in my video are not such things in my opinion.