Arnold Schoenberg: Orchesterstuecke op. 16 1 of 2

Arnold Schoenberg's Five Orchestral Pieces op. 16 (1909). Score available at www.universaledition.com

Category:

Music

Tags:

• Schoenberg
• Schönberg
• Expressionism
• Orchesterstücke
• Gielen

[Molurus1970]

Can anybody tell me of other Schoenberg music in this style, pleeeeeease? It's amazing!

The closest I've found is the Variationen Op.31 but it's not quite the same.

[ascvideo]

Erwartung op. 17, composed in the same year (1909)

[otterhouse]

Exiting performance! Who are orchestra and conductor?

-----------------------------

Rolf, Netherlnds.

I am a collector of classical 78's and lp's

Click "otterhose" above to see some of

my collection.

[ascvideo]

Netherlands Radio Philharmonic

Michael Gielen

[TheBlackPage1]

Listen to that orchestration.. my god, Schoenberg was a genius

[tomestubbs]

This is indeed my favorite Schoenberg piece. He expanded the palette of orchestral color (timbre) in this atonal work from the German Expressionist era. This amazing piece is a theme and variations, listen carefully and you can hear all of the themes being permutated and introduced in unusual contexts. He wrote this without the aid of a piano

[callmeBe]

@TheBlackPage1 If you look at his scores (just like Berg)--especially early on, you see heavy Mahler influences; especially in his woodwind doublings. Later in his career his orchestration became even thinner and more centered upon voicings with a solo instrument or at least instruments of the same kind (ie: less ob/fl/cl unison in favor of just cl, etc). This style became the hallmark of many of our next generation of American composers: Roger Sessions, Andrew Imbrie, etc.

[sleepybill84]

Hello everyone!I'm a sound engineer and I have to study Arnold Schoenberg's 5 Orchesterstucke op.16. Can anyone help me with the description and interpretation of this piece?

[DannyDaWriter]

@DannyDaWriter (cont'd) and used for the purposes of political propaganda. This idea — integral serialism — was more or less abandoned by the sixties, but serial thinking still continued to permeate in the compositions of those who were in Darmstadt at the time (Boulez, Stockhausen, Berio,etc.). In any case, the concept that serial music must strictly create an "atonal" result (i.e. free of any sort of tonal reference) is as the result of politics of the era and is somewhat misguided.

[DannyDaWriter]

@DannyDaWriter (cont'd) references in their music. The idea that serialism was a method of creating "completely atonal" music holds its origins in the Darmstadt school of the 50s, who began employing serial operations (inspired by the aforementioned Modes of Values and Intensities) and applying it to many factors of a musical composition — pitch, rhythm, timbre, what have you — in an effort to disconnect themselves with the perceived flack of romanticism that was hijacked by European nationalism

[DannyDaWriter]

@DannyDaWriter (cont'd) Serial music can be by default "atonal" because it will lack the gravitational pull toward a central tone that defines tonal music. But that doesn't limit a composer from exploiting the system to incorporate tonal and/or modal suggestions. A name that may immediately come into mind is Berg, but even some of Schoenberg's later music deliberately incorporate tonal references in tone rows. The American serialists of the 50s onward were also fairly keen on making use of tonal

[DannyDaWriter]

@LJBSasha Serialism doesn't necessarily need to be applied to generate a soundworld that incorporates all twelve notes in its harmonic language; in fact, serialism doesn't necessarily need to be applied to the pitch realm. Good portions of Messiaen's music serialize rhythm (and as well as pitch in some instances, like the Modes of Values and Intensities from the Four Rhythmic Etudes), and Stockhausen's Stimmung apparently employs serial organization without it touching a single tone at all.

[11293maria]

@Molurus1970 Expressionism :)

[jockboy69]

@ascvideo One of his great pieces. I've heard it live twice: Jessye Norman at the Met (with Bluebird's Castle with Sam Ramey) and Anlia Silya at her husband's debut as Mus. Dir. of The Cleveland Orchestra. She also sang Op. 6.

[kapariz44]

Never get tired of listening to this fascination work.

[russell444]

@Molurus1970 Second string quartet is really worth a listen (1908). Last movement especially.