Schoenberg Chamber Symphony No 2
Schoenberg extremes: radiance to dark depths that even fox the fervant
View record and artist detailsRecord and Artist Details
Composer or Director: Arnold Schoenberg
Genre:
Orchestral
Label: Naxos
Magazine Review Date: 9/2008
Media Format: CD or Download
Media Runtime: 79
Mastering:
Stereo
DDD
Catalogue Number: 8 557526
Tracks:
Composition | Artist Credit |
---|---|
Chamber Symphony No. 2 |
Arnold Schoenberg, Composer
Arnold Schoenberg, Composer Philharmonia Orchestra Robert Craft, Conductor |
(Die) glückliche Hand |
Arnold Schoenberg, Composer
Arnold Schoenberg, Composer Mark Beesley, Baritone Philharmonia Orchestra Robert Craft, Conductor |
Wind Quintet |
Arnold Schoenberg, Composer
Arnold Schoenberg, Composer New York Woodwind Quintet |
Author: Philip_Clark
But the joy of Schoenberg’s music is in grappling to reach an understanding, transforming passive listening into a creative act. This magisterial recording of the Quintet from the New York Woodwind Quintet marks a new plateau in our understanding of the work. As Craft’s notes testify, performances during Schoenberg’s life were normally conducted and lasted around an hour. This lithe, quicksilver version clocks in at 38 minutes and, with the right tempi restored, Schoenberg’s contrapuntal labyrinth sparks into life. Melodic motifs evolve and morph into new terrain with profound inevitability, while his harmonic daring and recherché timbres now feel holistically connected.
The Chamber Symphony No 2 is another work where intellectual energy equates to a virtuoso instrumental showdown. The Philharmonia are fully engaged and Craft’s fastidious approach makes every little detail count: but, as the cumulative impact of the second movement demonstrates, his ear is also focused on the larger picture. The 20-minute melodrama Die glückliche Hand sits in the stylistic overlap between Quintet and Symphony. Mark Beesley’s small but anchoring role is powerfully executed, while Craft’s artful unpicking of the prickly orchestral and choral writing places the listener at the core of Schoenberg’s dream-world.
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