Pierre Boulez : Variations pour orchestre opus 31 d’Arnold Schoenberg

[@caginn]

Introduction 00:45 Theme 2:23 Variation I: Moderato 3:25 Variation II: Adagio 4:43 Variation III: Mässig 6:08 Variation IV: Walzer-tempo 6:52 Variation V: Bewegt 8:22 Variation VI: Andante 10:14 Variation VII: Langsam 11:53 Variation VIII: Sehr rasch 14:00 Variation IX: L'istesso Tempo 14:34 Finale 15:35

[@eli.a.2287]

Grazie

[@caginn]

@@eli.a.2287 de niente

[@xavierlemblun8446]

Musique d orchestre faramineuse un travail d orchestre ahurissant une osmose semble atteinte si rare enfin quelque chose s est enfin produit un compositeur genial un chef prodigieux et des musiciens eblouissants, la musique est puissante...

[@notaire2]

Wunderschöne und detaillierte Aufführung dieser perfekt komponierten Variationen mit farbenreichen und perfekt verinigten Tönen aller Instrumente. Die Virtuosität der Solovioline ist echt bewundernswert. Der unvergleichliche Dirigent leitet das ausgezeichnete Orchester im veränderlichen Tempo und mit völlig effektiver Dynamik. Erstklassig!

[@criattivpartitura3796]

21 minutos de uma incrível performance!! uauuu!! Magnifico!!1

[@northside7776]

A wonderful performance of this imaginative work and the sound and camera work is excellent and enjoyable.

[@franckmousset4022]

Œuvre magistrale, interprétation exceptionnelle. Quel beau concert que celui-là !

[@Dieubussy]

Bien sûr, mais il faut avouer que Schoenberg s'est fourvoyé avec son système. A l'en croire on verrait un jour Enrico Macias ou Mireille Mathieu chanter en dodécaphonique et que le public reprendrait spontanément en choeur. Ca ne s'est pas passé exactement comme ça.

[@jeffreyhopes6561]

​@@DieubussySchoenberg n'a jamais dit que la musique dédacophonique devait remplacer la musique tonale. C'est une voie possible, une ouverture, un monde nouveau. Je trouve cette œuvre très claire, très lisible.

[@clarinetjo]

Expressif et féerique ! Le public semble comme hypnotisé par le charme mystérieux de l'œuvre ! Merci beaucoup pour cet enregistrement !

[@Dieubussy]

300 nuances de gris. On a le sentiment d'écouter la bande-son d'une symphonie de Brahms passée à l'envers.

[@Alix777.]

@@Dieubussy C'est toujours mieux qu'a l'endroit

[@paulchristopher2135]

Beautiful work. Great to see such a wonderful live performance!

[@mikeperduechannel]

What an excellent performance.

[@gerardbegni2806]

This work requests a perfect rendition of polyphonic lines. Schoenberg uses the twelve-tone row as a theme for the variations; The harmony is alos derived from the series, in a way anticipated by the itroduction. In his extensive study of the score, leibowitz describes it as a passacaglia.

[@MaxPower-grrl]

Fantastic! Bravo!

[@jameshelgeson4668]

This is a very beautiful performance.

[@EdoardoFittipaldi]

Perfezione ed espressività!!!

[@franckmousset4022]

Magnifique interprétation.

[@thomaskamper5641]

Das ist wahr!

[@Joaquimale]

Parabéns, ótimo concerto

[@cornelialauterbach9917]

Bei dieser Art von Musik habe ich das Gefühl mich im freien Fall zu bewegen ohne je einen Grund unter mir zu erfahren. Meine Sinne werden in einem verzerrten Kaleidoskop herumgeschleudert und es findet sich kein Haltepunkt oder eine Strecke die ich vorher erfahren würde. Ständiges aufblitzen von Licht in immer anderer Einfärbung und wie betäubt sinke ich mal schneller und mal langsamer, keine Erfahrung die sich mir einprägen könnte alles ist wie wirr in mir. Angst steigt empor keinerlei seelische Entspannung, ständiges unerwartetes Pulsieren das durch heftige Töne wieder im dämonischen Versinkt. Ein Reflex der Moderne welche den Menschen ständig ausschließt um ihn wieder in das Toben der Weltweiten Großen Maschine reißt um ihn zu vergewaltigen welche als Lust empfunden wird solange der Moment im werden ist. Keinerlei festes unter den Füßen, alles ist gräulich und Lust zugleich. Dies ist keine Analysis des Werkes sondern allein mein Empfinden beim Hören.

[@vetlerradio]

yes

[@franckmousset4022]

Wir dürfen kein atonales Werk mit den gleichen Prinzipien wie tonale Musik verstehen.

[@Gonzol7]

Well said! We listen to and understand music as culturally assimilable patterns. We have our ears to do this with, but it is our minds that make sense of the musical patterns. If we wish to have a quarter of a minute of music to confuse the listener (as often happens with music for a cinematic scene, but also can happen with music alone), we can compose, and very effectively, a series of patterns difficult to assimilate. One helpful tack for that is non-repetition---or repetition that is so disguised that our minds cannot detect repetition---or, truth be told, nothing we individually are able to assimilate. That can be very effective! If we continue such purposefully confusing music, we effectively confuse for however many more minutes we continue the process. By switching to culturally assimilable music patterns, though, we offer things people can begin to understand or even understand very well. Maybe Schoenberg was simply trying to avoid clichés. Schoenberg's music here is exceedingly clever and exceedingly creative, because virtually nothing sounds like anything else in it. He invented a whole raft of non-related---to anyone's listening---ideas. Yet there are tiny shards of patterns that sound vaguely familiar, but all broken up, For example, at 9:30 the music heads toward a forte climax---pretty familiar to everyone---but little else in that next quarter of a minute stretch is familiar. If you want music that makes very little sense, and on purpose, this is one way to go. It is a ride, but a dizzy one, and quite on purpose. Is it valuable? Well, only in the sense of valuing a quarter of an hour or so of almost entirely non-detectable patterns, a kaleidoscopically creative, but on-purposely quite confusing, ride. This certainly seems to be why Paul Hindemith did not value this kind of music. Should one listen to this music according to different principles than we do tonal music? But all music deals with musical patterns easy or difficult (on a continuum) to assimilate, according to one's culture. So, yes, don't expect dominant seventh chords with these variations---much less a dominant ♭9/♯5 chord---but do expect almost nothing that is commonly recognizable---or much of anything to make sense of. The problem is that *that* is what makes this music virtually non-sense. Very clever, exceedingly clever nonsense, but almost all nonsense nevertheless.

[@jeffreyhopes6561]

Non-related ideas? This is a series of variations!

[@MastanehNazarian]

I can hear the colours. Life is good.

[@jazzplusmore]

Rediscover Ease movement education can you see them? I can see the music.

[@didierleroy6348]

MUSIQUE approchant le SUPRA-TERRESTRE, atmosphère pouvant régner sur MARS, sur VÉNUS ou sur la LUNE MAGNIFIQUE INTERPRÉTATION d'une musique de l'espace. La KLANGFARBEN MELODIE permet de mieux accéder au dodecaphonisme de la MUSIQUE ATONALE SÉRIELLE

[@machida5114]

so good...

[@celiomoreira8985]

Dodecafonismo

[@Dieubussy]

You mean Dodecaphonissimo?

[@dntmp3361]

I’m trying but I don’t get it 🤷🏾‍♀️

[@bravulo]

Listen only 389 more times, all will be fine.

[@christopherhill2786]

just listen to the changing timbres through different instrumental combinations...

[@ed21202]

I am not enjoying this at all. Until today I had no knowledge at all of atonal or 12-tone music. I'll spend some time to gain some understanding and respect, and broaden my musical horizon.

[@olivierdrouin2701]

Je n aime oas trop , mais c est plus agreable a entendre que " jeux" de Debussy

[@smkh2890]

This would make good soundtrack music. Something spooky. like Silence of the Lambs.

[@stilichobias]

Modernist classical music figures prominently in the horror film genre.

[@Luke-ot6mk]

Cinema 🎥

[@vetlerradio]

I hear a lot of Debussy in that piece, weird!

[@MorganHayes_Composer.Pianist]

the very opening (in particular) inhabits a similar atmosphere /scoring to 'Jeux'

[@walacefeital917]

Isso é mais difícil de apreciar do que grindcore ou jazz avant-garde. Deus do céu...

[@complycadu]

Momentos tensos dos filmes 😨😰

[@onnihuuskone932]

I know why you are here reading comments, and I say this only for YOU. Go and listen STAM1NA, it is lovely classical music.

[@brucebennett5338]

c'est bon

[@muslit]

cold as they come

[@bocchisprout]

yo mama

[@scottperry1252]

I have a fever and the only cure is more flexitone!

[@danfriend9567]

If your fever persists, after the intermission Boulez conducts IONISATION.Just in case you need more cowbell.....

[@GunnTop]

You’re joking, right?

[@Camicamisinho]

No ✨🫶🏻

[@olivierdrouin2701]

Après avoir entendu une musique dodecaphonique , éventuellement avec plaisir , se sent on enrichi émotionnellement , spirituellement , vitalement ? Pour moi , la réponse est clairement non.

[@lastfisher]

명훈짱

[@docbailey3265]

There is something decadent about Schoenberg’s music. I can’t put my finger on it, though.

[@whatgivesit]

persecution of European Jews? this is a French orchestra, the parents & grandparents of these people also felt the wrath of Teutonic xenophobia in two 20th century holocauts

[@josephmccarthy9555]

@@whatgivesit someone hasn’t taken their pills today..

[@georgemcfetridge8310]

I think it's the carryover from Mahler. Overly thick. It's beautifully composed, but too fragmented in effect - just 'bits' sewn very well together, and that's a 'content' concern for me. Too dependent on a strictly emotional appeal for my taste.

[@PhilipDaniel]

​@@georgemcfetridge8310 I will go out on a limb and argue that there are some striking similarities between this work and the quasi-atonal Variations and Fugue on an Original Theme (op 73) by the criminally underrated Max Reger (whom Schoenberg is known to have admired). Though Reger's theme is less recitative-like/more chorale-like than Schoenberg's, both employ advanced harmonic languages and developing variation within a kind of "musical prose."

[@hansgurstad-nilsson8760]

:-D

[@muslit]

the public doesn't enjoy this piece. but they know they have to respond in kind.

[@rrogorrec]

Actually, what kind of uneducated idiot are you?

I enjoy!!

[@muslit]

@ Felicidades!

[@ha3vy]

You aren't the public

[@muslit]

@@rrogorrec I'm not an idiot and I'm highly educated. Perhaps I should have said 'most people in the audience'. But the reality is that most of Schoenberg's work, especially the 12 tone works, are rarely performed. The one orchestral piece that is played most often are the Five Pieces for Orchestra, which is not 12 tone. Pelleas and Melisande, which is basically tonal, is not played as much because of the size of the orchestra. I have the score of the Variations for Orchestra and have studied it. I have yet to hear a performance that does justice to it. I'm not speaking technically, but musically. Still, the work is more appreciated than liked.

[@muslit]

Actually this performance is extremely sloppy. Very poor ensemble playing. The fault of the conductor, who looks like he can barely lift his arms.

[@ruben7801]

Shut up

[@alexeyizmirliev64]

Ogni studente 20enne dirigge meglio.

[@geoffroygaussen7803]

La 'direzione' durante il concerto non ha alcun interesse. Tutto il lavoro è stato fatto a monte, durante le prove...

[@larbaud]

Um desastre cultural que fez atolar na bobagem dodecafonica boa parte da produção musical do século xx durante décadas.

[@carloseduardopaduano9942]

Que coisa horrorosa!

[@franckmousset4022]

Você pode precisar "abrir" seus ouvidos.

[@LuksHN]

Achei legal, parece música de filme de terror rsrs