"All music, everything created by man has a skeleton, a blood circulation, and a nervous system. I would like to see my music understood as a sincere and intelligent person, who comes to us and says something which he feels deeply and which is meaningful to us all."
This appeal for living art comes from someone who was often regarded only in a theoretical way: Arnold Schönberg (1874 – 1951).
It has always been incredible that a self taught composer, of all people, should break away from the major-minor key system, and that a Jewish cobbler’s son from the 2nd Vienna precinct, who had to learn about sonata form from a dictionary, should in the first third of the century redefine the meaning of music composition.
The key words – effective to this day – which are connected to the phenomenon called Schönberg are purely theoretical ones: Emancipation of dissonance, Atonality, Twelve tone row. They are even more familiar than the compositions of a man who was concerned with just one thing: making music.
The present recording contains the "Verklärte Nacht" (Transfigured night) after a poem by Richard Dehmel dating from 1899, ( in the revised version for string orchestra from 1943) and the Chamber Symphony Nr 1, Op. 9 from 1906.
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