This is #Day9 of my #100DaysProject. Few days ago, as soon as I got out my bed, even before drinking my very first coffee, I've seated on my piano and I've improvised a little tune. I've then posted it here on Instagram, getting some appreciations from my real and virtual friends who really loved this sort of good-morning without words. So I've decided to do it every morning, for 100 days.
Link to the project in my Bio.
The collection of Sieben frühe Lieder (Seven Lieder or youth melodies) composed from 1905 to 1908 for singing and piano and reworked for orchestra in 1928 and dedicated to his wife Helene Nahowski, who was very uplifting on his artist life. What strikes most in these Lieders is not only the melodic clarity and softness and the classical line of harmony with its fourth accords, but the perfect fusion between song and orchestra all aimed at reaching that intimate and essential description of A poetic world made up of memories and psychological nuances and far from any emphasis and sound accentuation.
I 3 Orchesterstücke op. 6 of Alban Berg are composed between summer 1913 and summer 1914 (first and third) and summer 1915 (second), and constitute not only the first Berg meeting with the great orchestra, but also the Decisive step towards independence, if not psychological, at least artistic by his master Arnold Schönberg. It was Schönberg himself to advise Berg not to face a symphony again, as he wished to do, perhaps under Mahler's inner thrust, but to choose the middle of an orchestral suite with "characteristic pieces", referring to the 5 pieces for Orchestra op. 16 (1909) by Schönberg himself.
Der Wein reveals the closeness to Lulu's spiritual and stylistic climate, which is, in a sense, a preparatory study.
Claudio Abbado's reading of these pieces is simply perfect: he was a master of the music of these early twentieth-century authors.