Who Invented Twelve-Tone Music?
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- čas přidán 8. 07. 2017
- In this video I look into the mostly forgotten Josef Matthias Hauer whose technique of composing twelve-tone music predates Arnold Schönberg's by a few years.
(Had to re-upload this video due to a Rechtschreibfehler 😉)
I do not own the rights to any of the music used in this particular video, but as the content of this video is purely educational in nature, it quite obviously falls under the protections offered by fair use.
The following pieces were used in the video.
If you enjoyed the music please consider supporting the artists by purchasing their albums.
J. M. Hauer, 4 Pieces for violin and piano op.28 (1924)
Purchase Link: www.amazon.com/gp/product/B01...
J. M. Hauer Apokalyptische Phantasie op. 5 (1913)
Purchase Link:
www.amazon.com/Josef-Matthias...
J. M. Hauer Nachklangstudien op.16 (1919)
Purchase Link:
www.amazon.de/Klavierwerke-He...
J. M. Hauer Romantische Phantasie op.37 (1925)
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www.amazon.com/Josef-Matthias...
A. Schönberg String Quartet No. 2, 3rd Movement
Purchase Link:
www.amazon.com/Schoenberg-Com...
A special thanks as always to musopen.org and imslp.org for offering free public domain sheet music and recordings online.
The notion that Hauer and Schoenberg developed their own 12-tone techniques simultaneously is only hard to accept if you focus exclusively on their published work. Yes, Hauer probably published the first piece of music with a recognizable 12-tone theme in 1919, but as Ethan Haimo has shown, Schoenberg was already using 12-tone themes in sketches and unfinished compositions such as "Die Jakobsleiter" between 1914 and 1921. If, as you suggest, the two composers really were so well aware of each others' work, then the opposite argument could be made for Hauer having stolen from Schoenberg. But in reality, the fact that they went in such two different directions ultimately makes the whole "who invented it first" question not very relevant.
Thank you for putting the precise link for the pieces we can hear, very appreciated. I love your work and can only wish for a success matching its quality!
Indeed, had Hauer written his ideas in the book, he would have been knwon now instead of totally un-known. However, there were surely many personal little elements in their senstivie relationshi that could have made Hauer super reluctant to be associated or demenaed by the other guy... The fact however remains that no one as far as I have seen, has touched the Transcendental Philosophical foundation of Hauer's thinking.... his music is touching on the 4th Dimension, and is rooted in Pythagorean appreicaition of mathematics and geotmetry as the foundations of our existence and our minds .... no one so far das even whispered about this ! Lubomyr Melnyk's Continuous Music was originated in its written form atter meetins in New Yrok with the H,M HAuer Society in the late 1870´s.
and what drew Lubomyr Melnyk to Hauer was precisely the Trnascendental element that lay hidden behind the musical sound. Maybe if soeone will explore this MOST important side of Hauer's work and thought, then Hauer will be able to rise again in the world and his music will be heard again for what it is .... a door into the Sublime .... you can not listen to Hauer with the same years you listen to Beethoven ... while we accept Beethoen as "the greatest" .. Hauer offers us something Beethoen could not ... we must always accpet composers for what they give .. not reject them because they are not so great as someone else !"
Naturally, you can compare, but you have to mention clear precursors like Liszt. See, for example, the main theme of Liszt’s Faust Symphony. Liszt DOES NOT propose nor develop any system, but the foundation that led to later twelve-tone row system(s) is evidently there … and he didn’t need to call upon his own hubris.
I think they all came from Liszt. I think Hauer was more in the french tradition and he did not make Wagner things. Atonality meant someting like pure tunes or Angel music and he did not want personal expression. There were too much rules but I like that he followed his own ideas. There is a lot of fascinating Cembalo music but not on CZcams till now.
Hauer's music is terrifying I love it
Amazing videos man! Keep it going!
This is so interesting, I am shaking to find out more! Thanks! You are great!
Thanks for that fascinating video!
I hope you can make a video on Hauer's method and the tropes you mentioned. The difference in their work is fascinating! Thank you
fantastic video
Too bad he was too proud. It's fair to call both systems "twelve tone music", but although they can be named the same, I understood them as two completely different system with the only thing in common being that they work with all the twelve notes of the chromatic scale. However, they seem to have very different principles which to me suggests that although they appear to have the same initial idea, to work with non-tonal material, everything else is different. By the tropes thing and the excerpts you played, Hauer's system seemed to have a lot of tonal chords and many moments sounded very tonal which in Schoenberg's system is a possibility (Berg is an example) but doesn't seem to be very encouraged.
Yes, the two methods are completely different - but they have one thing in common:
nobody wants to hear these "12-tone" pieces.
Btw. Schönberg has composed a lot of music that is NOT 12-tone. Some of it was completely tonal and in late romantic style.
@@kpunkt.klaviermusik Some people want
@@Qazwdx111 Ok, but they are veeery rare.
I even played Webern's Variations and some twelvetone pieces of Hanns Eisler. (They are so underrated!)
A story that deserves to become a movie.🎥
Very well done video! One more reason for the low reception of Hauer could be the critical position of Adorno towards his music ("The works of a clockmaker."). And, of course, while the music of Schoenberg and his pupils had a lot of potential for the future after WWII, the music of Hauer somehow seems like the end of the road. But, anyway, He was a source of inspiration for John Cage...
Can't wait for the video on his technique because i seem to like his style better
And your german pronunciatin is pretty good
you'll have to wait a bit, I have a bunch of other stuff to read and get through first. I'll get around to it.
Musica Universalis yes i see. doesn't really matter because i enjoyed all your videos so far :)
I don´t know about he being called INVENTOR. BUt he etablished the arrguments and aesthetic for this technique. The concept of musical logic is his. Everything he did goes with it.
Forgive my ignorance of twelve-tone music, I don't understand it. I can understand some of Bach's music and most of Beethoven's, they speak to me in a way I can't describe in a youtube comment. But I would like to learn more about 12 twelve-tone music.
U can’t repeat a note until all 12 are played. It’s strange!
@@Welcome_To_Life Well, that is what we learnt at school, and all twelve tone composers, even Schoenberg himself, break this rule all the time. I guess the main idea is to prevent functional harmony, and to use the twelve tone row in a sense of a more contrapuntal compositional style. I think, the best way to get in touch, is to listen to Berg's wonderful (and partly tonal 😉) Violin Concerto.
we can't compare these two composers. They found two different composition systems with the same material.
Yes and No. As I say in the video, the advent of both systems within 5 years of each other in the same city is rather dubious. Perhaps it's a coincidence, but similar social circles, same city, same time.... it makes me wonder. It's not like Hauer was a French impressionist hundreds of miles away coming up with a similar system completely independent of Schoenberg. That kind of a situation would make it all seem less dubious to me. I am however a suspicious person, and I have no proof, I only wish to educate.
Anyhow Hauer could deserve at least some more attention. He is mostly forgotten and it is a fact that his twelve tone system predates Schoenberg even if it is very different. Schoenberg earned his fame and recognition, but I think Hauer deserves more.
@@MusicaUniversalis your video is some of the most ill-informed simplistic nonsense I have seen on the topic in some time. Hauer sits where he should in history as a footnote and Schoenberg is a compositional and theoretical titan whose works are far too subtle, visionary, and revolutionary for someone like you to realise evidently. This video is pure pap. Do yourself a favour and listen to Erwartung (1909), the Five Orchestral Pieces (1909), Pierre Lunaire (1912), the Three Piano Pieces Op. 11 (1909), much of The Second String Quartet (1908) and others which are studies in true twelve-tone counterpoint and harmony in deed if not in name and the "Theory Of Harmony" discusses twelve note harmony and was published in 1911. You also conveniently failed to mention the published works by Schoenberg's students Berg and Webern (which must be mentioned here as these men were masters in their own right--Berg began Wozzeck in 1914 and Webern's Six Bagatelles was completed in 1913). If this music is not "twelve tone", your ears are someplace besides on your head and these works were constructed using specific totally chromatic rigour and established chromatically-based techniques and are not "random" by a long stretch).
It is absolutely true that Hauer published on a twelve-tone theory first, and some of his music is interesting (the tropes are very interesting indeed and of course hexachords play a major part in all twelve tone thinking) and Schoenberg also made an offer to him to teach twelve tone music with him in seminars which he turned down as well probably because he knew that he was no peer of the master. Schoenberg's writing and thinking come from a much different world than Hauer and it does not matter if they lived in the same house. No matter what one thinks of Schoenberg's music, it is the truest form of fully twelve-tone revolutionary modernism (which he established early in the 20th Century and, in keeping with your logic, which Hauer MUST have known about intimately) and Hauer's is not. Besides, Schoenberg called his technique just that-a technique which changes from piece to piece in substantial ways. The works of Schoenberg's pupils let alone the master himself eclipse Hauer in technique, artistic vision, influence, and sheer compositional innovation. Hauer is the fool here and should have attached himself to the true genius that Schoenberg represented. As he did not and , frankly, did not have "the chops" on any level to rise above a curiosity, he can stay a footnote where he belongs. Besides, Hauer is mentioned in all real reputable sources on the topic and your video is just a CZcams "clickbait-shocking revelation" nonsense premise that he is not.
I don't think it was necessarily pride.
I don´t know about he being called INVENTOR. BUt he etablished the arrguments and aesthetic for this technique. The concept of musical logic is his. Everything he did goes with it. He gave birth to the technique as a meaningful one.If i remember, Hauers piano music to show this was annoying as hell
No, Mozart wrote the first 12 tone classical music section in his symphony no 40.
There is some truth in this. I always regard Mozart's "Kegelstatt Trio" as a piece far into the (atonal) future. But Bach also did some "twelve tone sections" in his late works, like the Musical Offering.
@@KrisKringle14 where
@@KrisKringle14 really?? What movement, what section??
@@KrisKringle14 The unfinished C Minor fantasia and fugue isn't a "12-tone" piece as far as I know but it's very chromatic and just... amazing and still worth mentioning too
@@Sam-gx2ti Very well said! Sorry, my first comment was a little exaggerated. To see twelve-tone music everywhere in music history is, of course, a Schoenbergian point of view. Of course composers like Bach or Mozart did not try to compose in twelve-tone Style, they were just exploring the borders of the tonal system. But, anyway, they were going very far, and I guess, listeners in their time sometimes must have been very puzzled about the musical output...
a shame :(
Your comment... 😂
Why do these composers think they've "liberated the dissonance?" They have done no such thing! They changed nothing!
they did.
@@emanuel_soundtrack nope. Sorry!