Eh. Schoenberg was never really my cup of tea. I can totally understand where you're coming from, but it's a bit too far out there for me. I like listening to something where at any given moment I can find a tonal center. Lack of one leaves me feeling empty and overall dirty.
Also, about the analysis bit, I never got how combinatoriality works. I get that it's taking a row, an inversion, cutting them in half, and then putting them together, but I never quite understood the nuts and bolts of it.
:helpme:
You've got the basic bits of combinatoriality, but that's really only one trick in Schoenberg's (and others) bag. The basic premise is this: assign a number to each note (C=0, C#=1, D=2, etc. etc .), arrange them in such a way that when you invert them, the first six of the original row are the same numbers as the last six of the inverted row. That means it is impossible to have the same note sounding at the same time, thus avoiding any one note sounding as a tonal centre. This is called Hexachordal combinatoriality. There is also tetrachordal combinatoriality, though I prefer hexachordal.
I understand it can be tough listening. I find the payoff is huge. Once you latch on to one bit that really makes sense to you as you listen, you hear it over and over, and the whole thing falls into place. Beautiful. For example:
(anyone interested, I can show you how that shit is put together in a really magnificent way, a way that even includes a traditional Sonata format as Hayden would have used Sonata form.)
Ya know, I admit I've never heard a choral version of it before. I've played it in several instrumental settings, from solo guitar to chamber orchestra, but I've never heard it sung. :o
Bach set it several ways - for Choir, for organ, and for chamber orchestra. He seemed, for a short time around 1716 to be obsessed with this particular tune. Listen here (this isn't a stellar performance, but I can't find my own choir on youtube right now...
), the finest moment of this work is at 4:18, when the tenors lead with the Cantus Firmus, and then it changes to a dance shortly after.
:glugglug: We had a few things by him in college choir groups. There was an Allelluia that just completely blew my fucking mind every time we rehearsed it, and when we actually performed it I nearly jizzed my pants. The harmonies that he uses create a spine-tingling effect when they're sung by 50+ a capella human voices. Amazing stuff.
Being in the middle of a choir performing works such as this is a life changing experience, I think. Now, imagine directing the choir, and shaping that sound personally. It is amazing. Arvo Part is also an amazing experience. I've directed this many times, and it is emotional every time.
http://www.youtube.com/watch?v=TbxnnC22gwY
