1920-23 - Schönberg (1874-1951) Serenade op.24 f.Klar. u. Orch.(1920-23)
1920-23 - Schönberg (1874-1951) Fünf Klavierstücke op.23 (1920-23)
1921 - Schönberg (1874-1951) Suite für Klavier op.25 (1921)
1925 - Schönberg (1874-1951) Vier Stücke f. gem Chor op 27 (1925)
1928/31 - Schönberg (1874-1951) Klavierstücke op. 33 a,b (1928/31)
1934-36 - Schönberg (1874-1951) Konz. f. Viol. u. Orch. op. 36 (1934-36)
1942 - Schönberg (1874-1951) Konzert f. Klavier u. Orch. op.42 (1942)
1947 - Schönberg (1874-1951) A Survivor from Warsaw op. 46 (1947)
1949 - Schönberg (1874-1951) Phantasy f. Vl.+ piano op.47 (1949)
1949 - Schönberg (1874-1951) Moses u. Aaron III/3 o.op-Zahl (1930-32)
1949 - Schönberg (1874-1951) Dreimal tausend Jahre op. 50a

1928 - Webern (1883-1945) Symphonie op.21 (1928)
1934 - Webern (1883-1945) Konzert für 9 Instrumente op.24 (1934)
1934/35 - Webern (1883-1945) Drei Lieder op.25,2 (1934/35)
1936 - Webern (1883-1945) Variationen für Klavier op.27 (1936)
1938 - Webern (1883-1945) Streichquartett op.28 1938

1925 - Berg (1885-1935) Schließe mir die Augen beide (1925)
1935 - Berg (1885-1935) Violinkonzert (1935)
1927 - Berg (1885-1935) Lyrische Suite (1925/26)

1953 Elektronische Musik Stockhausen (*1928) Elektronische Studie I (1953)
1954 Elektronische Musik Stockhausen (*1928) Studie II (1954)

Lieber Metaphysiker

Schön, dass du eine Übersicht über die relevanten musikalischen Stücke der Adorno- Ära uns chronologisch zur Verfügung gestellt hast Ich bin zwar keinesfalls der Ansicht, dass mit den beiden Kompositionen Stockhausens die serielle Musik endet( außerdem vermisse ich John Cage) allerdings sind die von dir aufgeführten Stücke selbstverständlich relevant, wenn man die musikal. Texte Adornos zugrunde legt.
Ich hatte mich ein wenig näher mit dem Stück von Alban Berg "Schließe mir die Augen beide" beschäftigt. Diesem liegt ja ein Gedicht von Theodor Storm zugrunde.

Schließe mir die Augen beide
mit den lieben Händen zu;
geht doch alles, was ich leide,
unter deiner Hand zur Ruh.
Und wie leise sich der Schmerz
Well' um Welle schlafen leget,
wie der letzte Schlag sich reget,
füllest du mein ganzes Herz.

Close both my eyes
with your dear hands;
So everything that I suffer
goes to rest under your hand.
And as silently the pain,
wave by wave, goes to sleep;
as the last blow falls,
you fill my whole heart.

Eine kleine musikal. Hörprobe ist unter folgender Internetadresse zu finden:

http://www.jan-billington.com/christofel...ecital_04.shtml

Bei dem Verständnis zur Kompositionstechnik des Stückes würde ich gerne einmal die Hilfe von dir oder Blue brauchen. Angeblich soll sich das Gedicht sich an einer best. Stelle teilen - und diese Teilung soll der Verschiebung der musikalischen Reihe entsprechen, bei der die Wiederholung einer 4-taktigen-Sequenz von wesentlicher Bedeutung ist - allerdings habe ich die jeweiligen Takte nicht angeben können, da ich keine Noten von Berg habe.

Lieber Gruß

Temp=)

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
A brave man once requested me
to answer questions that are key
is it to be or not to be
and I replied:"so why ask me?"
_______________________________________

Dear Temp & Metaphysiker

The first setting had been composed in 1907 and dedicated to Helene Nahowski, Berg's then-future wife. The second setting was new and officially dedicated to the UE anniversary.
The 1925 setting was Berg's first compostion employing the twelve-tone system. It reveals many of the unique characteristics of Berg's twelve-tone method; these would be important for the remainder of his compositions. The principal row, or set, of the work is the symmetrical all-interval series:

P(0): 0 11 7 4 2 9 3 8 10 1 5 6

intervals: 1 4 3 2 5 6 5 2 3 4 1

The second line shows the intervals between adjacent tones in the row. As can be seen, the intervals of the first half (1 4 3 2 5) are reversed in the second half (5 2 3 4 1). Because of this, there are 24, rather than 48, possible row transformations: every retrograde of the row has an exact twin that is prime, and every retrograde inversion has a twin that is only inverted.
Berg employs cyclic permutation of the row to obtain a row in which the two hexachords of the original have been exchanged:

1-P(5): 5 4 0 9 7 2 8 1 3 6 10 11
4 0 9 7 2 8 1 3 6 10 11 5
0 9 7 2 8 1 3 6 10 11 5 4
9 7 2 8 1 3 6 10 11 5 4 0
7 2 8 1 3 6 10 11 5 4 0 9
2 8 1 3 6 10 11 5 4 0 9 7
2-P(5): 8 1 3 6 10 11 5 4 0 9 7 2

The boundary elements of the hexachords (5,2;8,11 in 1-P(5)) are exploited as a means of associating different row-forms:



Schlies-se mir die Au-gen bei-de mit den lie-ben Han-den zu;
5 4 0 9 7 2 8 1 3 6 10 11 5 4 0
geht doch al-les was ich lei-de, un-ter dei-ner Hand zur Ruh.
9 7 2 8 1 3 6 10 11 5 4 0 9 7 2

Und wie lei-se sich der Schmerz Well um Wel-le schla-fen le-get
2-P(5): 813 6 10 11 5 4 0 9 7 2 8 1 3
wie der letz-te Schlag sich re-get, ful-lest du mein gan-zes Herz.
6 10 11 5 4 0 9 7 2 8 1 3 6 10 11


The work has a two-part structure: it is 20 measures long, with each half of the poem taking 10. Each syllable of the text recieves, in the vocal setting, one tone from the row. Because there are 30 syllables in the first half of the poem, the second half begins on the 7th tone of 1-P(5), g# or 8. Thus, the second half of the vocal setting begins with 2-P(5). The piano was assigned this row form at the beginning, and is now assigned 1-P(5). Thus, the piano and the voice employ rows with exchanged hexachords at the start of each section of the work.
Notice, in the above, that if the vocal part were to continue, it would employ the set 1-P(5). Thus, the song has a circular form: the last notes of the vocal setting bring us back to the moment just before the start of the piece.
Twelve-tone simultaneities, where all 12 tones of the chromatic scale sound at the same time, occur at the end of each section. In measures 11-15 "employment of a set form and a procedure that do not occur elsewhere differentiates these five bars from the remainder of the piece, clarifying the binary design and giving emphasis to the recapitulatory function of the five bars that follow" (Perle 1985: 9). The pairing by Berg of this advanced twelve-tone work with a simplistic tonal work, with both works being settings of the same poem, acts as a demonstration of the musical evolution that occurred in music during the 25 years of Universal Edition's existence.
The 1925 setting of "Schliesse mir die Augen beide" is in many respects a preparatory study for the Lyric Suite. The principal series in the song is the same as that of the first movement of the quartet. The boundary (first and last) pitches of this series are F and B, or in German notation, F and H. Berg had come in contact with Hanna Fuchs-Robettin, the sister-in-law of one of the Berg's closest friends, Alma Mahler Werfel, when staying as a house guest with the Fuchs-Robettin family. Hanna's initials are the boundary pitches of the above-mentioned series. In the two 12-tone simultaneities in the song, the same two pitches are the highest and lowest notes. Finally, Hanna's number, 10, determines the length of the sections and, by consequence the entire piece.

regards

Blue

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The existence of truth only becomes an issue when another sort of truth is in question. (R.Rorty)

In Antwort auf:

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The 1925 setting of "Schliesse mir die Augen beide" is in many respects a preparatory study for the Lyric Suite. The principal series in the song is the same as that of the first movement of the quartet. The boundary (first and last) pitches of this series are F and B, or in German notation, F and H.

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Dear Blue, Metaphysiker and Temp

I am not a musician but I am amazed when I am listening to "Schliesse mir die Augen beide". So I bought a cd.

warm regards

NID

_____________________________________________

"Is not all life the struggle of experience, naked, unarmed, timid but immortal, against generalised thought?" (W.B.Yeats)