# Schoenberg's Piano Concerto



## millionrainbows (Jun 23, 2012)

The Schoenberg Piano Concerto is one of the unpopular Schoenberg's most "popular" works because, though 12-tone in form, the row used is ambigously tonal.


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## Dim7 (Apr 24, 2009)

In the case of Schoenberg's PC I think I can actually sort of "hear" the row throughout the piece. And by that mean that it actually sounds like everything is related to that opening theme, and that the row has a distinctive "flavor", like a scale. That usually doesn't happen with 12-tone pieces in my case.


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## aleazk (Sep 30, 2011)

Dim7 said:


> In the case of Schoenberg's PC I think I can actually sort of "hear" the row throughout the piece. And by that mean that it actually sounds like everything is related to that opening theme, and that the row has a distinctive "flavor", like a scale. That usually doesn't happen with 12-tone pieces in my case.


That's what Uchida says here: 




Try Webern's Concerto for nine instruments. There, he uses a derived row (i.e., starting with the set (0, 1, 4), Webern constructs the rest of the row by applying the contrapuntal transformations to this set). The key there is that you have a big prominence of two very distinguishable intervals (minor second and major third), and the result is a very recognizable pattern transformation.

https://en.wikipedia.org/wiki/Concerto_for_Nine_Instruments_(Webern)


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## Dim7 (Apr 24, 2009)

What does she actually say? "I feel like playing the tone row at the beginning before I play the piece is actually ggreadssd09wu029+"?


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## Balthazar (Aug 30, 2014)

Dim7 said:


> What does she actually say? "I feel like playing the tone row at the beginning before I play the piece is actually ggreadssd09wu029+"?


"...as, actually, Glenn Gould did..."


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## Deacon Don (Mar 17, 2014)

I haven't heard a piece by Schoenberg I didn't like.


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## Stirling (Nov 18, 2015)

Count me as one of the fans.


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## SeptimalTritone (Jul 7, 2014)

aleazk said:


> That's what Uchida says here:
> 
> 
> 
> ...


I _love_ the shower of motivic dialogue one gets in late Webern.


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