Consummation. This is what the piano music of Arnold Schönberg (1874-1951) and Franz Schubert (1979-1828) have in common, the bridge that Thomas Larcher brings to this welcoming solo recital, his first for ECM. To underscore this point, he shuffles Schönberg’s Klavierstücke op. 11 with Schubert’s posthumous Klavierstücke D 946. By turns halting and didactic, the opening pairing opens into the fresh air of Schubert’s precisely syncopated revelry. The contrasts between the two composers are obvious to the ear, but to the heart Schönberg is an extended exhalation to Schubert’s inhalation. Where Schönberg plots slow, jagged caverns, Schubert runs furtively above ground in the sunshine. Yet both seem so urgent to tell their stories, offering lifelong journeys from relatively young minds.
Markus Stenz and the Gürzenich Orchestra Köln have demonstrated a special aptitude for performing large scale post-Romantic works, notably the symphonies of Gustav Mahler, which they recorded for Oehms Classics as a series of hybrid SACDs. They have followed that impressive cycle with what is probably the most Mahlerian work Arnold Schoenberg ever composed, the massive Gurrelieder for solo voices, multiple choruses, and large orchestra. This 2015 Hyperion release is impressive in its crisp details, vibrant tone colors, and startling clarity, all of which are evident in the opening instrumental passages in the Prelude, and which continue through the nearly operatic vocal parts, which have remarkable presence in the face of an orchestra that exceeds Wagnerian proportions. The recording is presented on two CDs that offer extraordinary sound for digital stereo, and the only disappointment is that this wasn't released as a multichannel recording. Listeners who find Schoenberg's modernist music difficult may be more receptive to this cantata, which is his most openly Romantic score and strongly reminiscent of Wagner's music dramas. Highly recommended.
Interessante lavoro di Arnold Schonberg dedicato a tutti gli gli studenti di composizione. Gli scopi principali di questo compendio sono: l'allenamento dell'orecchio, lo sviluppo del senso della forma, e la comprensione della tecnica e della logica della costruzione musicale.
Fierrabras is a three-act German opera with spoken dialogue written by the composer Franz Schubert in 1823, to a libretto by Josef Kupelwieser, the general manager of the Theater am Kärntnertor (Vienna's Court Opera Theatre). Along with the earlier Alfonso und Estrella, composed in 1822, it marks Schubert's attempt to compose grand Romantic opera in German, departing from the Singspiel tradition.
Beethoven called Mozart's Requiem "wild and terrible", and that's what we get in Harnoncourt's new recording. Ominous dread hangs from every note of the dark opening measures, the Rex tremendae and Confutatis are driven with terrifying strength, and the supplications of the Lacrimosa, with their weeping stabbings of the orchestra, are freighted with emotional power. The Tuba mirum duet of bass soloist and trombone has a beauty almost never achieved in other readings. Nor does Harnoncourt overstep the stylistic boundaries of this classical-era work; rather, the intensity is heightened for being in the idiom of its time.
A new critical foreword by Walter Frisch, H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University, expands this centennial edition. Frisch puts Schoenberg's masterpiece into historical and ideological context, delineating the connections between music, theory, art, science, and architecture in turn-of-the century Austro-German culture.
Arnold Schoenberg is unquestionably one of the pivotal composers of the 20th century. By opening new aesthetic horizons, he played a crucial role in the development of contemporary classical music. This Sony Classical CD includes 1978 recordings of two works from Schoenberg's expressionist period: Erwartung (1909) and Pierrot Lunaire (1912). It also features an excerpt from the Gurre-Lieder: “Der Lied Der Waldtaube”.
Traduit et présenté par Gérard Gubisch La rédaction du Traité d'Harmonie (achevée en 1911) se trouve placée pour Schoenberg sous le double signe d'une création artistique d'une rare intensité et d'une activité pédagogique non moins riche, puisqu'à Vienne, son petit groupe de fidèles comprend depuis quelques années déjà deux élèves devenus maîtres: Alban Berg et Anton Webern. …
First published in 1948, Structural Functions of Harmony is Schoenberg's last theoretical work and contains his ultimate thoughts on classical and romantic harmony. The opening chapters are a resume of the basic principles of the early Theory of Harmony; the subsequent chapters demonstrate the concept of 'monotonality', whereby all modulations to different keys within a movement are analysed not in relation to each other but in terms of the irrelationship to one central tonality (tonic) as the centre of all harmonic change. …