Alban Berg - Violin Concerto (1935)

[@cobblestonegenerator]

Gotta love Berg. He fully embraced the 12 system without letting it make his music devoid of musical creativity. While i understand what Schoenberg and other die hard serialists were going for, Berg is one of the few whose music i actually listen to on a frequent basis. So good.

[@officaldungeons]

Definitely the most tolerable music using the 12 tone system; it’s all just a little trite to me. But I mean how much more unpredictable can you get? There’s no denying this piece catchy in its oblique melodies and motifs

[@davidecirillo9675]

Check out Luigi Dallapiccola

[@aveensss]

He also tries to tune his violin good

[@bdeflorence]

Schoenberg was never a "die hard" serialist-He was fully aware of the limits of the system he invented, and that's why his 12 tones compositions are all short-Some of his pupils did become overzealous-And don't forget the dispute with Mann, when both of them were refugees in California-However, I find Berg's Lulu rocks!!!!

[@null3707]

I’ve always felt that Schoenberg in his dodecaphonic period worked best when setting his music to a narrative drama, like in the Ode to Napoleon or A Survivor from Warsaw

[@NovicebutPassionate]

"The concerto is in two sections, with two movements in each part. The first section portrays Manon Gropius alive; the second, her illness, death, and the passage of her soul. (Manon died of polio at age eighteen. She was the daughter of Alma Mahler Gropius. The family was close to Berg and his wife.) Berg has indicated by means of his expression markings in the score the qualities of character he wishes to depict. The First Movement begins with an introduction of gentle arpeggios answering back and forth between harp and solo violin, which critic Joseph Magil has linked to the girl's breathing: inhalation, exhalation. The movement proper starts with a solo double bass (measure 11), quietly accompanied in G minor; the violinist's answering rising arpeggio is an exact statement of Berg's basic twelve-tone row (G-Bflat-D-Fsharp-A-C-E-Gsharp-B-Csharp-Eflat-F) starting m.15 (rising from low G to high F) which at m. 24 is heard again, starting hight G, but now descending and inverted, after the cellos have repeated the double bass theme (starting m. 21). Such symmetrical statements and answers are typical of the concerto as a whole. After a 'delicate' flute figure at m. 28 (delicato), the soloist introduces a second theme, in triplets, marked un poco grazioso (m. 38). Increasingly lively figuration leads to a restatement of the 'double bass theme' of m. 11 by the solo violin at m. 84. The return of Manon's arpeggio figure (starting m. 94) in woodwinds and harp signals the transition to the Second Movement (beginning m. 104), a scherzo with two trios. A waltz-like theme is given by two clarinets (m. 104), and taken up by the violin in double-stops. Viennese high spirits, even sauciness, are recalled, alternating capriciously with more reflective moods; the two trio sections are each introduced by the orchestra without the soloist, the first Trio (m. 137, Subito un poco energico), the second Trio (m. 155, Meno mosso). Then the first Trio is repeated (m. 167, poco energico, tuba solo) before the reprise of the scherzo (m. 173 clarinets again, but now with a counter melody in the violin). The tempo winds down before the appearance in the horn of the folksong in G flat major (m. 214), a nostalgic country dance called a Landler. The waltz tempo returns and the movement ends somewhat pensively in G minor (with F sharp as major 7th); thus, G-Bflat-D-Fsharp, the first four notes of the tone-row. The Third Movement is a violin cadenza accompanied by the orchestra; the mood is anguished, as befits its subject, which is the onset and progress of the disease and the girl's ultimately unsuccessful struggle against it. A staggering rhythm first appearing in the horns (m. 23), then in chords in the solo violin (m. 35), symbolizes the illness; Manon's resistance is seen in references to the waltz theme and arpeggio motive (mm. 60-80). A more tranquil middle section (beginning m. 78) may represent a stabilization that occurred prior to the final stage. After a shattering climax (m. 125, molto pesante), based on the rhythmic motive of m. 23, the music calms down again towards the Fourth Movement (beginning m. 136 ) the solo violin' builds the chorale's opening, note by note, on its lower strings, at last giving it completely. The woodwinds then restate it in Bach's harmonization. The words are printed in the score over the melody: 'It is enough! Lord, when it pleases Thee, Release me! My Jesus is coming: New good-night, O world, I am going to the Heavenly house. I will travel safely in peace, My misery left here below.' The chorale subsides, and the arpeggio figure, 'exhalation' only, is heard quietly in the second violins and cellos (mm. 158-165). At this point, the solo violin begins a slow steady ascent which is gradually lost in the mass of the orchestra as instruments are added; another climax is reached and gradually calms. The landler, now marked to be played 'from afar,' emerges in the clarinet and horn (mm. 204-207); a coda founded on the chorale concludes (m. 214), with the arpeggio motive breathing again 'from afar' in the last two bars. Manon has traveled safely in peace; the girl has become the 'angel'. This is the primary programme of the concerto; however, research has revealed that incredibly there is another 'secret' programme at work. Berg's marriage was outwardly exemplary, but in fact he loved another woman, Hanna Fuchs-Robettin. In addition to devising motives from the initials of their names and using them in the concerto, he has constructed the work around numbers that were numerologically significant to him. The number 10 he associated with Hanna; the number 23 had special meaning for him (he believed it was his 'fate' number. He expected to die on December 23, 1935, his last full day; he passed away just after midnight on the 24th.) Also, he had founded, with Willi Reich, a music magazine called 23. The title was a joking reference to the clause in the Austrian legal code which allowed for the public correction of false statements and presumably in this case by music critics. In the concerto, these numbers are reflected in such inaudible structural details as the length of the introduction, 10 bars, and the last section (230 bars, or 10 x 23). Berg may have been saying farewell not only to Manon but to Hanna as well. It has often been suggested that Berg wrote in the violin concerto not only a requiem for Manon but also for himself. This is true, but in fact he wrote more because the programmes though specific to personal circumstances are symbolically universal: Manon is any loved one, Berg is any one of us. The Berg concerto is not casual listening, either in language or emotion, which may work against its widespread popularity, but its significance as a work of art and as a moving human document is indisputable." Jeffrey Wall, Orchestra London, Ontario, Canada, 1997, (with minor additions by Mehdi Javanfar.) Finally, a couple of other KZbin sources for further Berg studies: Alban Berg Documentary: kzbin.info/www/bejne/pXSrdqqMZaehgK8 AND Great Composers, Alban Berg: kzbin.info/www/bejne/eqeahZl6brFpn5o

[@goatlps]

TL;DR - it's truly awful non-music.

[@marioroveda5481]

@@goatlps "Non-music"? What are you talking about?

[@BenjiOrthopedic]

TLDR. I tend to ignore program notes and instead focus on the score itself, not analyzing it bar by bar. I'm actually learning the Berg Violin Concerto right now. I remember one time I read an analysis of the Sibelius Concerto and I just wanted to rip it up after reading it. It was full of assumptions and strange ideas that otherwise would've ruined my own personal meaning of this piece. CD liner notes are often full of crap too. It's like "were you there with them when they wrote it? How do YOU know what it means? Were you inside their brain when they chose the notes and rhythms?" Give me the basic story, which i already know anyway, "He wrote it to the memory of an angel and her name was Manon Gropius, daughter of Mahler's widow Alma who had since remarried. Manon was 18 or 20 when she died. And then Berg died only a short time after it was finished, it was his last work." That's it! No comments about "the horn solo in Bar 205 means that he was full of crying and anguish". Ok, maybe mention the Bach Mass quote in the second half.

[@pantslesswrock]

@@BenjiOrthopedic Dude, wtf is your problem? You just have a knee-jerk hatred of analysis?? What, did the OP need to begin each and every sentence with "in my opinion" and "from my point of view"? The author is dead and as soon as someone else experiences your art it ceases to be yours. OF COURSE ITS FULL OF ASSUMPTIONS THAT IS THE ENTIRETY OF MEDIA ANALYSIS There is no singular truth, and unless an analyzer explicitly says "This is the only interpretation", then, you know, they aren't saying that. You don't have to get offended that their analysis is more detailed and different than yours. To the person who brought this quote, thank you! It was a real trip to read along and listen while battling Covid. Polio, man. Thank God for vaccines

[@BenjiOrthopedic]

@@pantslesswrock WTF is YOUR problem? Oh yeah, you have no life so you troll on KZbin as a keyboard warrior, going to battle for people you don't even know? If you don't like someone's FREE SPEECH, then move on and don't comment! Ok, enough of this testosterone-infused volleyball game. Obviously we have markedly different viewpoints here. I guess you got your daily dose of "putting someone back in their place" for today. Slow clap. CLAP. CLAP. CLAP.

[@joshuagearing937]

It’s so great to actually have a full score of this wonderful concerto! Thanks so much Cmaj7 🙏👍

[@stueystuey1962]

I've listened i don't know how many times to this and yet tonight it sounds totally fresh and alive in ways i never knew. I'm writing this at the 19 minute mark and it sounds like a church organ, and mild carnival, and the violin traipsing, and horns going this way and that, and so delicate, and joyful and wistful, and fluid and segmented, and harmonic and aharmonic, yowza

[@stephenjablonsky1941]

Now that is a violin concerto! It has everything. Berg was a genius and he poured his genius into every note. The end is pure magic.

[@zanexiao4488]

17:53 Some of the most heart-breakingly delicate writing in classical music

[@waltonyan8045]

And composed by none other in the history of music than--you guessed it, J.S. Bach

[@NanaKwame96]

I find this probably the greatest work from the 2nd Viennese School. It is like to perfect marriage between tonal writing and the use of the 12 tone system and as a whole, a summary of all the ages of classical music from the new horizons of this new system has to offer, the lush and dark harmonies which were birth from the Romantic era and like a rising sun over the mountains to the very dawn of classical music as this piece pays deep respect to Bach around 18:25 (I know the chorale starts a bit earlier but the sudden key change and change of timbre by the woodwinds made it feeling like something out of a pastoral painting.

[@stueystuey1962]

yeah, i just commented that i have listened so many times to this work and never quite experienced that change around 18 minutes in with the church organ like feel - incredible. Truly. It does seem to embody the entire tradition from the 1750'sor so to the moment of its creation and anticipates much that is to come - the bathos of Shostakovich, the lilting expressivity of the neo-romantic, and certainly the abstract expressionism of which we very nearly define atonality and its final consummation in serialism. something about the Violin's constantpresence that reminds me of Brahms - that is just a feeling but nothing concrete.

[@canalesworks1247]

One of the greatest to be sure, though Ilove just about all of Berg's works. He just does it for me.

[@jamajamajama]

14:00 giant steps

[@SCRIABINIST]

One of the best pieces for Violin ever written. Surprisingly tonal and atonal simultaenously, perhaps it's because of Berg's almost harmonic 12 Tone System

[@danielrivera9788]

Interesting….

[@classicallpvault]

This isn't really a dodecaphonic work. It's very dissonant and leaves these dissonant harmonies unresolved, but still uses conventional scales, chords, and chromaticism, and there's tons of sequences in it in which harmonic intervals follow one another, e.g. the 12 notes aren't equal. This is also why it's still very listenable.

[@canalesworks1247]

@@classicallpvault No system should oppress the composer.

[@scriabinismydog2439]

"The best music comes from the ecstasies of logic." -Alban Berg

[@Yhiith]

don't think so

[@segmentsAndCurves]

@@Yhiith ok then

[@Qazwdx111]

don't think so

[@WEEBLLOM]

​@@Qazwdx111ok then

[@Qazwdx111]

@@WEEBLLOM can I kiss you?

[@SPscorevideos]

The well-known 12-tone concerto in G minor!

[@sneddypie]

what

[@PhilipDaniel]

It ends in the relative major (B-flat).

[@musik350]

Additionally, Berg's rows are notoriously famous for being pretty tonal - just look at this one, consisting of 4 stacked triads

[@indigo5601]

@@musik350 w. the bach 'whole tone' chorale @ the top (9-12) - serene and 'floatating' (the whole 12)

[@zgart]

@@musik350 the way I was taught to analyze it was G minor major 7, A minor major 7, and then the the notes of the whole tone scale that lead up to G and A

[@MultiRedskins12]

Love the translucent nature of this work. Eerily sublime.

[@py8554]

He wrote it to commemorate the death of 18-year-old Manon Gropius, the daughter of Alma Mahler, and after completing it he himself died in the same year.

[@franciscojoseaguirret.5845]

Se le olvidó decir que también era hija de Walter Gropius, uno de los arquitectos más importantes del Siglo XX.

[@Lircking]

He should have written a piece for his own death imo. Symphony of a bug-bite

[@ВікторіяНадгребельна]

*1 частина* Andante Прелюдія (початок) 2 Allegretto Скерцо 4:25 *2 частина* 1 Allegro Каденція 11:02 2 Варіації на хорал Баха 17:56

[@edoardo8365]

my favourite violin concerto ever written.

[@edoardo8365]

@@pgbpriuvnri why would that be?

[@ilikeplayingffftonecluster851]

Edoardo lol of course you’re here. After hearing for the first time it is also now my favorite violin concerto, although I haven’t heard much aside from the famous ones in 19th century which I don’t like much. Lulu

[@canalesworks1247]

Mine too.

[@raustaklass]

When you tune your violin It makes you sound good so you can play beautiful music like this

[@Syllogyzym]

Any tips for getting into 12-tone music? Certain passages are quite lovely, but I find most of this more interesting than enjoyable.

[@segmentsAndCurves]

You listen.

[@clement103]

Listen to it, listen to it, more and more, discover new music, and you will find it absolutely magnificent

[@nathanielsattler1382]

I know this is an old comment but listening to first the early works of Schoenberg, then the fuller works of the likes of Bartók and Shostakovich (especially the more dissonant ones) worked for me back when I was in high school and undergrad. If you can form a liking for the former’s string quartets or the latter’s earlier symphonies and chamber works a piece like this concerto or the piano concerto by Schoenberg becomes much more tolerable. Patience is key, as well as preparing yourself through more complex but also more accessible works and composers (Schnittke is another major one for me). Depending on how devoted you are to expanding the range of stuff you can listen to, that path can bring you to a place where you thoroughly enjoy stuff you might not even consider music beforehand

[@oldbird4601]

Listen to extremely dissonant tonal music then come back to this

[@BUF-vr5cr]

Just open your mind.

[@albuch520]

Berg's last piece being arguably one of his most importantworks. A true avangarde masterpiece!

[@facuvita7217]

My favourite concerto, thank you for uploading the orchestral score

[@michaels7889]

Berg's profound feelings resonate through this elegy. It is good to hear it again together with the score. That fully reveals the systematic serialism one doesn't need to hear!

[@giorgiociomei5030]

Per me è ai primi 5 posti tra le composizioni più belle della storia della musica! 💖💖💖💖💖💖

[@dougo891]

I remember interviewing the violinist Henryk Szeryng And he told me about how he studied the concerto with Louis Krassner, who premiered the piece back in the 1930s.

[@johnmorrisrussell4680]

Hi Doug O - that's extremely interesting. Any other topics from Szeryng ? Would be great to hear !

[@henrykszeryng5900]

Is there a recording of the interview, and would you be interested in sharing it?

[@gematr14a42]

This feels so mysterious.

[@alisekeita3921]

Vijolkoncerts (Eņģeļa piemiņai) (R.,1983) I d. pamattēma 1:02 protestantu korāļa Ir piepildīts citāts II d. 2.fāzē 17:53 (Es ist genug) un variācijas par korāli! ērģeļu efekts klarnešu ansamblī 18:23

[@armandssurins3364]

9:27 ,

[@RyanPower]

Thank you for this, a wonderful work, very interesting to see the full score!

[@sneddypie]

16:15 to 17:16, probably my favorite part of the whole concerto

[@martin_venit]

4:12 Nostalgia del mundo tonal...siendo olvidado para dar paso a toda la gran música que será compuesta en el siglo XX

[@jorgecarrera8806]

La corriente experimental minimalista sucedió al serialismo dodecafónico durante la segunda mitad del siglo XX, y era generalmente música tonal (y fue igualmente popular).

[@Ivan_1791]

Y no tan gran música. Por suerte Berg terminó su carrera con uno de los mejores conciertos de violín escritos.

[@albuch520]

A piece of sorrow and grief (like most of what Berg wrote). One of the greatest musical works of 20th century.

[@alexanderwinberg4544]

For me, Berg manages to connect so much more emotionally than the other Serialists (Schönberg, etc.). Entirely true to the serialist style, but still deeply human.

[@sneddypie]

@Alexander Winberg personally, berg and shostakovich are the most human composers to me. they truly represent what humanity is like, which is why they are my 2 favorite composers

[@sneddypie]

of course there are multiple factors to why i adore the both of them, but i just wanted to stick to the theme.

[@segmentsAndCurves]

Berg was a romantic at heart. Schönberg was a romantic at doubt. Webern was not a romantic... at all (or more specifically, his late pointillistic style).

[@BUF-vr5cr]

Humanity, it turns out has a wider pallet than many imagine

[@mrtchaikovsky]

@@segmentsAndCurves Nonsense. They were all romantics.

[@sergimegiascustodio5080]

Such an amazing piece! Every time I hear it, I discover new wonders

[@helendale7668]

It has taken me two months' of rehearsals of this concerto as a rank and file orchestra member to start appreciating it. At first I thought it would be never, then I started to like certain phrases... now I like quite a lot of it, if not all !

[@ClassicalNerd]

Yes

[@scriabinismydog2439]

Yes

[@peterrowan9955]

Scriabin is my Dog h

[@samuelmincarelli5051]

Yes

[@ilikeplayingffftonecluster851]

Woah it’s Thomas Little himself. :O

[@ilikeplayingffftonecluster851]

h

[@JoseCruz11123]

I do like that you kept some sound in this, staying true to the purpose of 4:33.

[@andrewpenny4984]

Thank you so much, Herr Alban

[@judithvandijkhuizen8331]

Love this. Never heard Berg before.

[@WheezingBobcat]

Give Wozzeck a listen, if you haven't yet. Gutwrenching work.

[@SergioLOSOWICH]

Admirable musician Thanks! Good job

[@zgart]

Yay full score!!

[@gwydionrhys7672]

The opening clearly shows that Berg could write a really good tune.

[@pablodesarasate499]

this short melody in the violin at 8:09 is so beautiful

[@spicetraders]

Thank you for pointing this out.

[@davidecretarola2401]

Frankly speaking, this recording is not one of my favourites. The Solo Violin is technically well played by Itzhak Perlman, but musically I feel like he is not enough "intellectual" as a musician to fully understand compositions like this one and to convey all the compositional-spiritual details in the right way. Sometimes it feels a little bit “stupid” to the brain but not to the ears. We all know what a great violinist and musician he is, but the feeling I get is that this music does not match him as well as other concertos do (mainly Beethoven, listen to his recording with Giulini... and Tchaikovsky). His performance (we cannot talk about interpretation, since we DO NOT interpret music, we perform what the composer wrote and wanted) makes me think like he is trying to make a romantic XIX century concerto out of Alban Berg, because then more people will like the recording more. Of course I am not vomiting words without having some knowledge, and I am aware of Berg's historical harmonic as well as orchestration late-post-romantic compositional background, but that does not make him a romantic, late-romantic, or post-romantic composer. Both Perlman and Ozawa do many things which are not written, or written differently, and I think we should absolutely trust the score used in this video (thank you @Cmaj7!!!), since it is, if I am not wrong, the first Universal Edition which was published after Berg's death. I like to think about this music really as "music for brainiacs", which is not an efficient explanation of what I am trying to say (it is a shameful way of talking, I know, it truly is). I get the same feeling from the orchestra, which is, from my point of view, really surprising, since Ozawa is without any doubt one of the very greatest conductors who ever walked the surface of the Earth. This work does not need any explanation though... it truly is one of the masterpieces of the II Viennese School's expressionism, and of all the history of music. I think we all have to agree on this. Such a shame it is becoming a concerto liked by many people who are not gifted enough to appreciate it in the right way, like all the other (violin) concertos (Mendelssohn, Beethoven, Brahms, Tchaikovsky, Paganini 1st, because no one cares about the others, which are a hell a lot better than the 1st, Mozart). Composers like Berg, Schönberg, Webern, Babbitt, Messiaen, Stockhausen, Berio, Maderna, Donatoni, and others, mostly contemporaries of the mentioned ones, shouldn't become "commercial" or "mainstream". Their music is not for everyone, and should not become for everyone thanks to famous popular star violinists who attract big mass audiences in concert halls as if they are playing in a football stadium.

[@jeonghyeon--lee-]

Best rendition of the work. Just magnificent

[@alexj1161]

Very clear (Gustav) Mahler influence in the Movement II adagio. I like it.

[@pcyYouTube]

The whole piece is very Mahler-like to me, being a lamentation over the tragic death of Mahler's daughter. An incredible piece of the most touching music.

[@matweb8195]

Just picked up: Letters to His Wife. Haven't read it yet, but I love this, it's great.

[@EmanuelGaldr]

Why do some lines run across different staves connecting notes in different instruments, several beats ahead? What does this mean?

[@cobblestonegenerator]

The only thing i that comes to mind is its trying to indicate a melody line that carried by several instruments that are passing it off to each other. Now i could bw completely wrong, but this is done all the time in piano music and it's the only thing that makes sense to me.

[@steveclaflin594]

@@cobblestonegenerator I wondered about this too, and had the same suspicion. But on a piano it's all the same instrument and usually the same player. How would you notate the individual parts? Also, there was at least one place where the marks looked like parentheses around a passage of several measures on one line (bar 246 of 1st movement, cello part)

[@hugoweyand1451]

@@steveclaflin594 I believe those slurs and arrows are just used to visually show the conductor where a phrase moves to when it's passed between instruments so they know which section to bring out. The individual parts on IMSLP don't have these slurs or arrows. Those marks on the cello part and some other places in the score are parentheses. You can barely tell that the notes in parentheses are slightly smaller and in unison with the solo violin. And the German below the score says something like "play to support the soloist," so I assume its an optional part that the soloist or conductor might ask the cellos to play for balance/texture reasons.

[@RTCMAHL]

I spent about 5 months with this concerto for comprehensives. The question, "Is the first movement a Sonata Allegro form? Argue for and against."

[@theangryginger7582]

2:32 jupiter? probably not any sort of intentional quote right?

[@joffy1234]

What is that between 6:08 and 6:14 ?

[@setsube]

Con legno (striking the string with the stick of the bow across the strings)

[@Liebes2732]

Did this guy just got his inspiration by tuning the violin？Amazing.

[@BUF-vr5cr]

Yeah, Violinist: Itzhak Perlman and the Boston Symphony Orchestra conducted by Seiji Ozawa are in the habit of performing and recording inconsequential compositions.

[@Quotenwagnerianer]

Inconsequential... yeah right. Only one of the most frequently performed and admired Violin Concertos of the 20th Century.@@BUF-vr5cr

[@lelandthorne314]

Bach's chorale: **begins** Me: **cry**

[@bombolinus9946]

when??

[@starchythepotato2877]

@@bombolinus9946 17:53

[@canalesworks1247]

Yes. Painfully tender drama.

[@gentle_goy23432]

Берг один из моих любимых композиторов 20 века.

[@martinwest2538]

The violinist plays an a, not a suspended a flat in bar 86 in the second movement, as the upper staff suggests (and a falling chromatic line throughout).

[@harryk6807]

Nice upload! Can we get more Takemitsu on this channel?

[@landonmiller6943]

Another vote here for more Takemitsu!

[@oldbird4601]

17:53 Bach chorale bit

[@nadijfer]

6:45 shosty 5?

[@jsbach1750]

My dog almost can nail the opening. I remember this beautiful piece whenever he cries

[@mcbill7352]

The beginning always makes me laugh because it sounds like the soloist is tuning their violin while the performance has already started

[@JanCarlComposer]

this unmistacable, elegant tune ..

[@BlueMeeple]

Uh, I hate how the double bass isn't transposed! I hope that's not the case on the parts, I hate ledger lines. Few times trying to play from a tuba or a piano part was terrible enough! Never had the chance to play this masterpiece yet, unfortunately.

[@pedrocarvalhobass]

I think the ledger lines are mostly on the contrabassoons 😅

[@roblindauer6521]

What are the symbols bracketing the soloist's first measure? I don't think I've seen that notation before...

[@Cmaj7]

Hauptstimme. German for main voice, commonly used by composers of the 2nd Viennese School

[@roblindauer6521]

@@Cmaj7 Thank you

[@bombolinus9946]

which minute comes bach choral quote?

[@BenjiOrthopedic]

It would be nice if there were not ads interrupting this every 5 minutes...totally wrecks it. Berg never knew anything about TV commercials! He knew about the radio ones, but they were kind enough not to interrupt the performances with commercials between movements. SMH.

[@BUF-vr5cr]

The jarring content of the commercials makes it even worse.

[@jsbach1750]

Use Brave Browser

[@BenjiOrthopedic]

@@jsbach1750 thanks, yes I finally installed Adblocker. I don't know why the commercials/ads are there - KZbin does not let people profit off of copyrighted recordings. I've tried uploading stuff and although it let me upload them, I can not make money off of them, not that I ever wanted to/needed to.

[@Skidoo22]

The best bit is the major 6th at the end.

[@DanyDoublebass]

Yes yes yes yes

Nice! 👏👏

[@quinn7894]

What does the "HΓ" and the "NΓ" markings mean?

[@Cmaj7]

Hauptstimme and Nebenstimme, German for main voice and secondary voice

[@quinn7894]

@@Cmaj7 Cool!

[@masonkesslar8168]

Stupid ads ruined it. Don't even put it on here if you're going to monetize

[@Cmaj7]

The video is monetized by the recording owners. Sorry I can do nothing about it

[@calebhu6383]

16:37

[@ThisIDig]

Is this score in concert pitch?...I'm thinking yes

[@yrockerboy]

10:43 James Bond chord

[@TenorCantusFirmus]

Postmodernist, polystilistic collage half a Century before it was cool, and done better than anyone else has ever done.

[@marvuser1367]

In what key is this?

[@GUILLOM]

Yes

[@kgroveringer03]

R# majinor

[@jeonghyeon--lee-]

No

[@TheAboriginal1]

12 tone

[@marvuser1367]

@@TheAboriginal1 I know.

[@nglani32]

Brahms second violin concerto

[@AlejandroDominguezParedes]

25:04 Excelente final !!!!

[@BlowtheRood]

19:18 those chords sound real gd

[@hyojoon_oo8693]

17:53 bach

[@lopkobor6916]

hA Ha lInG LiNg 40 hOUrS i Am sO oRiGINaL!1!

[@orionmendenall5707]

Not to brag, but I can play the first eight notes perfectly

[@trappaskunk]

That jazzy ending is so great.

[@yeong24]

4:22~4:45

[@dominicwills-composer5831]

Berg led a fascinating life, the many strands of which came to a head in the incredible Violin Concerto - check out my video about this piece here! kzbin.info/www/bejne/qXXFp6OrhtZ0j7c

[@RyanPower]

wHeN yOu TuNe YoUr ViOlIn

[@lopkobor6916]

Ryan Power G D A E

[@Tamadehenzhan]

Schöne Sendung

[@henrytedds5585]

7:09-7:36

[@ambre2703]

Jusqu'à 11:00

[@길다빈-x9x]

01:15 berg's row

[@officaldungeons]

The forbidden violin concerto. Utterly cursed. I need an adult. Sounds Lovecraftian.

[@gematr14a42]

Interesting adjective, but it _does_ sound Lovecraftian.

[@Mofaxx]

You should listen to the Schoenberg violin concerto!

[@허민-y4f]

20c 초반 음악 베르크 - [바이올린 협주곡] ★제 3기 [12음 기법] [12음 기법] : [완전한 무조성 음악]을 [성취]하기 위하여 [음렬]을 만들어 [12음을 모두 한번씩 사용]한다는 것이다. 이렇게 해서 만들어진 (음의 나열)을 [＊기본 음렬] 이라고 한다. 기본음렬을 [1)전위] [2)역행] [3)전위역행] 시켜 [철저하기 무조적]이며 [체계화된 음악]을 만드는 작곡 기법이다. [베르크] : 신빈악파 중 [낭만파적 성향이 가장 강해서] 작품에서 [긴장에 찬 극적 표현]과 [격렬한 감정의 표출]이 뛰어나다. [베르크 바이올린 협주곡] : [12음 기법]과 [＊조성적 어법]이 [★함께 사용]되었다.

[@musiker9872]

(0:08) When I first listened to this phrase 10 years ago, I thought the violinist was tuning the violin! LOL

[@BUF-vr5cr]

Made any progress in ten years?

[@Qazwdx111]

@@BUF-vr5cr Made any progress in 4 months?

[@BUF-vr5cr]

@@Qazwdx111 Yes. I now understand that appreciation of fine music is only available to the precious few.

[@Qazwdx111]

@@BUF-vr5cr Thank you

[@川口健太郎-m5e]

開放弦の調律を序奏に使う イザイの曲から頂いた

[@atlantis8672]

18:30 (for me)

[@BenjiOrthopedic]

Concerti like this are always much more enjoyable to listen to because they really are "adult music", or "for mature audiences only." No little prodigies perform or record them because no music director or record company will let them do it. Let the young notesmiths spin off Tchaikovsky and (God forbid) Sibelius - but leave the Berg and Schoenberg and Walton and Stravinsky and Britten for the grown-ups.

[@KingstonCzajkowski]

Many young violinists prepare pieces like this with wonderful interpretations - they aren't just for old people.

[@tomascostero9962]

20:05; 23:24

[@joaniebologna2754]

1:19 18:25

[@tikitak9132]

17:53

[@agogobell28]

It is enough, indeed.

[@aramkhachaturian8043]

Time to tune my *violin!*

[@albuch520]

Really intense sense of humor...

[@marek9741]

Sounds like he is tuning his instruments

[@BUF-vr5cr]

You realize the long line of people that have criticized the great composers is endless. Are there too many notes for you? Just tell us which ones to take out.

[@marek9741]

@@BUF-vr5cr I mean, it's not a criticism, if you like it, that's your taste. It's just what I hear, tuning instruments, which is not appealing to me.

[@BUF-vr5cr]

@@marek9741 Then beat it. Your criticism sounds like sour grapes to me. Go listen to music you like rather complaining here that you don’t like something that is widely acclaimed by people more knowledgeable than you.

[@marek9741]

@@BUF-vr5cr I mean, you don't know anything about me but anyway, it's a KZbin comment section, I can say what I like. Popular ≠ good. Also, many people criticize modern music ? Not like it is an unpopular opinion to say it is unenjoyable.

[@BUF-vr5cr]

@@marek9741 Having a 1st amendment right to free speech doesn’t make what you say valid.

[@michaeldunsdon5974]

Cannot appreciate this at all. It certainly cannot be attributed as music. Even one minute of this totrure would drive me to insanity.

[@CatkhosruShapurrjiFurabji]

Based

[@Andrew.Helmick]

Maybe I just don't have the ear for this type of music but I mean to me this is just weird

[@ilikeplayingffftonecluster851]

It took me multiple listens to get into a lot of 20th century music, so it may be the same for you. Even then you still might not like it and that’s fine.

[@oldbird4601]

Listen to extremely dissonant tonal music then come back to serialism

[@BUF-vr5cr]

It’s true you just don’t have the ears for it. Move on. Kanye West music is available on KZbin also.

[@marcossidoruk8033]

You are not entirely wrong, most serialist and late 20th century music is pure pretentious garbage but Alban berg is pretty much the only serialist that is worth anyone's time, if you are used to dissonance it is very musical but of course that if you come from exclusively diatonic types of music it is going to be rash on your ears. Don't listen to the pretentious idiot above me, he is probably here not because he understands and enjoys the music but because it makes him feel like he is cool.