Rattle, Manning, Nash Ensemble - Schoenberg Pierrot Lunaire,
Webern ConcertoOp.24
Modern | Eac, flac, cue | log, cover | 1 CD, 156 MB
October 28, 1992 | Chandos | RapidShare
Schoenberg's music is not for everyone, but then there's a lot in music that isn't for everyone. Though you may not connect with this composer, there are many who honestly do, and you may be missing something.
Arnold Schoenberg prefaced his program to Pierrot Lunaire with a quote by the German poet Novalis. "One can imagine tales where there would be no coherence, and yet associations--like dreams, poems that are simply euphonious and full of beautiful words, but with no meaning or coherence whatever--at most, a few comprehensible strophes--like fragments of utterly various things. Such true poesy can have at most and allegorical meaning, as a whole, and an indirect effect, like music." In other words, Novalis is saying not to search too hard for meaning in the work, but to enjoy the sound and the consonance of the words. Shoenberg also applied a unique ideal to this piece, called "sprechstimme," where he clearly defined the lines between spoken and sung text, and explained in detail the differences between the two. Schoenberg was much respected for his work, and the legacy of Pierrot still lingers today. It's divided into three major parts, to reflect Pierrot's varying moods: moonstruck despair, paranoid martyrdom, and nostalgic reflection. The piece also encompasses Schoenberg's foray into Expressionist music, with ideals founded on some of Freud's theories, and the desire to look within oneself, and express it. The world portrayed in Expressionism is usually at night, and most often has more nightmares than daydreams. Pierrot is no exception, being totally set at night with many references to the moon. Schoenberg's "Pierrot Lunaire" will continue to be one of the great works of the twentieth century, and Schenberg's ideas and influence still persist today. And it is also good to remember, with more listenings come more enjoyment and greater understanding.--Amazon
CD Content
# Pierrot lunaire, melodrama for voice & chamber ensemble, Op. 21
Composed by Arnold Schoenberg
Performed by Nash Ensemble
with Jane Manning
Conducted by Simon Rattle
# Concerto for 9 instruments, Op. 24
Composed by Anton Webern
Performed by Nash Ensemble
Conducted by Simon Rattle
Arnold Schoenberg prefaced his program to Pierrot Lunaire with a quote by the German poet Novalis. "One can imagine tales where there would be no coherence, and yet associations--like dreams, poems that are simply euphonious and full of beautiful words, but with no meaning or coherence whatever--at most, a few comprehensible strophes--like fragments of utterly various things. Such true poesy can have at most and allegorical meaning, as a whole, and an indirect effect, like music." In other words, Novalis is saying not to search too hard for meaning in the work, but to enjoy the sound and the consonance of the words. Shoenberg also applied a unique ideal to this piece, called "sprechstimme," where he clearly defined the lines between spoken and sung text, and explained in detail the differences between the two. Schoenberg was much respected for his work, and the legacy of Pierrot still lingers today. It's divided into three major parts, to reflect Pierrot's varying moods: moonstruck despair, paranoid martyrdom, and nostalgic reflection. The piece also encompasses Schoenberg's foray into Expressionist music, with ideals founded on some of Freud's theories, and the desire to look within oneself, and express it. The world portrayed in Expressionism is usually at night, and most often has more nightmares than daydreams. Pierrot is no exception, being totally set at night with many references to the moon. Schoenberg's "Pierrot Lunaire" will continue to be one of the great works of the twentieth century, and Schenberg's ideas and influence still persist today. And it is also good to remember, with more listenings come more enjoyment and greater understanding.--Amazon
CD Content
# Pierrot lunaire, melodrama for voice & chamber ensemble, Op. 21
Composed by Arnold Schoenberg
Performed by Nash Ensemble
with Jane Manning
Conducted by Simon Rattle
# Concerto for 9 instruments, Op. 24
Composed by Anton Webern
Performed by Nash Ensemble
Conducted by Simon Rattle
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