Schoenberg is not renowned for enthusiasm for programme music. He softened his view in old age and suggested to the dedicatee of his Piano Concerto these thoughts:
A.S. suggested that he was not against programme music.
He hinted a background for this concerto' four movements:
- Life was so easy
- Suddenly hatred broke out
- A grave situation was created
- But life goes on [wikipedia]
"A concerto twice over
Before playing Schoenberg's Piano Concerto with the Royal Philharmonic Orchestra (Third Programme), Peter Stadlen [Remember him?] said it was difficult at first, but believed it would in time become the cherished possession of every musician.
The performance. In honour of the composer's 75th birthday, was given second time, after some discerning impressions by Alan Frank.
I confess that repetition did not bring understanding or liking for the 12-note system, or for this example of it in which, as Mr. Frank said, there was too much going on. As to the way it was composed, Mr. Stadien did help by his illustration of the basic row of the notes. They go forward and backward and upside down, but apparently, like the celebrated Leeds Roundhay tram, not sideways!
Radio Review, Yorkshire Post 23.09.1949"
Edinburgh International Festival.
Pierre-Laurent Aimard, piano, Alison Balsom, trumpet, and the Royal Scottish National Orchestra conducted by Elim Chan.
Wynton MARSALIS: Concerto for Trumpet.
interval
Arnold SCHÖNBERG: Piano Concerto.
Witold LUTOSLAWKI : Concerto for Orchestra
I find the structure of this concert to be odd with is micro first half containing a trivial Concerto whilst two masterpieces populate substantial second half. I need help from other Forumistas, please to identity the golden thread that connects these disparate Concerti.
Whatever , I'm very much looking forward to
Pierre-Laurent Aimard tackle the formerly recondite Schoenberg Concerto.
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