Tracks Cast. Buy selected tracks. Transcription for Piano Trio by Eduard Steuermann Customers and visitors can download classical music in high quality FLAC or MP3 and find out more about classical music. E-commerce solution from Textalk. Schoenberg, Arnold Webern, Anton. Chamber Music Instrumental. Cello Piano Violin. Contemporary Romantic. Transcription for Piano Trio by Eduard Steuermann. Sehr langsam bar 1. Breiter bar Schwer betont bar Sehr breit und langsam bar About this course Skip About this course.
At a glance Institution: StanfordOnline Subject: Music Level: Introductory Prerequisites: There are no prerequisites for the course but there are optional units for participants who read music to analyze the compositions.
Language: English Video Transcript: English. What you'll learn Skip What you'll learn. Vocabulary and strategies for analyzing the music and your responses to the music.
How to practice and perform the compositions. Additional, related repertoire. The still groundbreaking roars of Elektra and the return to a silvered nostalgia in Der Rosenkavalier were more than a decade in Strauss's past. Work on Finnegans Wake was underway. And Europe was struggling to recover from the deaths of millions of its best in the trenches of the Great War. Eventful days. Schoenberg's Vienna, during these 15 or so years, was the hub of Austro-German intellectual and artistic life.
Sigmund Freud was forming the Psychoanalytical Society - Jung being a member. Schoenberg himself had gained the favor of Gustav Mahler. It was a vortex of energies striving for the new.
And it witnessed the widening of the rift between an increasingly conservative public and a stubbornly innovative artistic community.
By , the largely self-taught Schoenberg, a devoted student of the musical traditions which preceded him, had decided that a step beyond the enormous legacies of Brahms and Wagner would free him to explore means of expression which could sustain a relevance to his changing world.
Rosen writes:. Schoenberg defended these succinct pieces together, the three pieces barely amount to 15 minutes of music in letters to the famed musician Ferruccio Busoni:. My music must be brief.
In two notes: not built, but 'expressed'!! And the results I wish for: no stylized and sterile protracted emotion. People are not like that: it is impossible for a person to have only one sensation at a time. One has thousands simultaneously… And this variegation, this multifariousness, this illogicality which our senses demonstrate, the illogicality presented by their interactions, set forth by some mounting rush of blood, by some reaction of the senses or the nerves, this I should like to have in my music.
It should be an expression of feeling, as our feelings, which bring us in contact with our subconscious, really are, and no false child of feelings and 'conscious logic'. Moving in the same direction as the Imagist poets in Paris, Schoenberg sought concision, not elaboration - an unparalleled density of emotional content bounded in short durations, but communicating those constantly shifting emotions with the fleetness of thought.
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