These first complete recordings of the string quartets of Schoenberg, Berg, Webern and Zemlinsky have won numerous international awards and been hailed as landmarks in the discography of 20th-century music. Impeccable ensemble, superbly blended timbre and pure intonation ….This set [Schoenberg, Berg, Webern] is indeed a wonderful achievement (MusicWeb International). Febrile intensity and faultless proportioning of each formal structure [Zemlinsky] (Guardian).
Mitsuko Uchida has been a committed exponent of Schoenberg's Piano Concerto for over a decade now. It is a work which remains controversial in its adaptation of the serial method to an almost Brahmsian harmonic palette, wedded to a formal approach that takes up the integrated design, and textural richness, of Schoenberg's pre-atonal works. Certainly in terms of the balance between soloist and orchestra, this recording clarifies the often capricious interplay to a degree previously unheard on disc (and most likely in the concert hall too).Interpretatively, it combines Pollini's dynamism, without the hectoring touch that creeps into the Adagio's climactic passages, and Brendel's lucidity, avoiding the deadpan feeling that pervades his final Giocoso.
This 11-disc set is essential for anyone interested in the music of Arnold Schoenberg. It is the complete Sony "Boulez Conducts Schoenberg" series in a Brilliant-style box without jewel cases. Whether you are just investigating Schoenberg, or looking to complete the series, this is a most welcome release.
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.
The two works included in this album are among the most unlikely of recording combinations, but here they are, under the baton of Claudio Abbado and the BPO, collaborating with Abbado's bosom friend Pollini.
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. …