Arnold Schoenberg

Look at you,

Schoenberg.

Did you say you see a bit of me in her?

Well, no, I was just making a facile comparison about the way you were brought up with a lot of music going on around you.

And I remember liking that experience well enough when it was new to me, not all the pieces, um, not all and he puts in parentheses not all of the planets are super exciting but the parts that are exciting are really good you're gonna have to take the ride if you haven't been on it before but yeah yeah i know it's something like i think like people should hear at some point just to kind of

100 no this is foundational with beethoven's ninth along with a flight of the valkyries i mean there's you know in terms of the the things i would hand somebody like this is what yeah european quote-unquote classical music is and can be i mean this is this yeah um who else is influenced by schoenberg because there's sometimes some dissonant stuff going on it isn't just pure euphony that he's using which is very much a sort of a schoenberg thing um again we don't do a lot of classical music on this podcast but

we don't maybe we should

anyway um because obviously things like wagner are heavy as fuck like there's a lot of we we could have easily have a blast of heavy as fuck classical music

She's fantastic.

And Warner herself had these pivots, right? I mean, she was going to go to Germany to study with Schoenberg and World War I broke out.

And so then she became a musicologist.

And because England was at war with Germany, there was foundation money for England to study English music, right? Because everyone in England who was interested in classical music, for good reason, was studying German music.

She's fantastic.

And Warner herself had these pivots, right? I mean, she was going to go to Germany to study with Schoenberg and World War I broke out.

And so then she became a musicologist.

And because England was at war with Germany, there was foundation money for England to study English music, right? Because everyone in England who was interested in classical music, for good reason, was studying German music.

So anyone who has listened to Bach is probably going to recognize Telemann.

And people who have listened to Schoenberg are going to recognize more modernist composers.

So you can think of those as being clades, and you can think of the cultural tradition as being inherited, and as constraining variation within the range of scores that are composed on the piano.

Of course, what we're dealing with in a genome is like the biggest symphony orchestra you ever saw in your life.

I really enjoyed both of them.

let's move on to Arnold Schoenberg and the chamber symphony.

And one of the interesting things about this is that it's from early in Schoenberg's career before he developed kind of the, the 12 tone system, but he was starting to move towards a tonality or he was at least stretching the bounds of normal tonality.

So this piece has some key signatures.

So he was thinking of it being in a key and, at various times.