Peter Donohoe CBE born in Manchester, 18 June 1953 is the premier English p… Read Full Bio ↴Peter Donohoe CBE born in Manchester, 18 June 1953 is the premier English pianist of his generation.
He started his musical career as a percussionist with the Birmingham Symphony Orchestra and he still occasionally performs with Percussion.
He was awarded joint-second prize in the 1982 International Tchaikovsky Competition with Vladimir Ovchinnikov (no first prize was awarded that year).
He started his musical career as a percussionist with the Birmingham Symphony Orchestra and he still occasionally performs with Percussion.
He was awarded joint-second prize in the 1982 International Tchaikovsky Competition with Vladimir Ovchinnikov (no first prize was awarded that year).
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Sonata in B minor: Conclusion
Peter Donohoe Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
@absinthesizer
@@wramrobertodecamargoaccors4679 Thanks for your reply. I'm a composer, but almost never atonal. My only mature 12-tone work is the 3rd movement of "Ludlow," and I used it here in order to simplify the process: I wanted to "draw" the piece, creating curves and arcs, and using a tone-row relieved me of the task of thinking a lot about the individual notes.
https://soundcloud.com/marnest-1/ludlow-3-fire
Berg's 12-tone works continue to fascinate people because they keep reminding us of tonality without lapsing into actual tonality - it's like looking at something familiar from an unfamiliar angle. One reason for this is the kinds of sets he uses: Large portions of three of his final four works - the Lyric Suite, "Der Wein," and "Lulu" - are based on sets in which the first six notes are a Guidonian hexachord (e.g., C-D-E-F-G-A, the maximum number of diatonic notes not contaning a tritone) and the last six notes are ANOTHER Guidonian hexachord transposed by a tritone. (e.g., F#-G#-A#-B-C#-D#). This results in music that's not tonal but also is not extremely dissonant, and full of chords we recognize but within a context that makes them seem new.
Your response to atonal music is fairly common and completely valid - hard-core atonality is an acquired taste, and for 99.99% of people there's no need to go to any trouble seeking to acquire it. I recently introduced a student to 12-tone music, and his response surprised me, but probably shouldn't have:
The opening of Schoenberg's "Moses und Aron": "Meh. It sounds like the scary music in every horror movie I've ever seen."
The adagio from Berg's "Lulu": "That interests me A LOT!"
@idit4
I have known this piece since high school, which means a long long time ago, and always loved it very much. Thanks for the words, they add to my good memory of the piece!
@aTonalHits
Idit Shemer thank you Idit. Finally got a moment to reflect on this in some other ways. Will we meet at Avaloch by chance this fall?
@thomasjones1195
Berg is a favorite of mine, especially the Altenberg Lieder. Thanks for filling in the background gaps in my knowledge of Berg.
@aTonalHits
thomas jones thanks for watching. This is really only the tip of the iceberg. Berg is an amazing composer!
@ivyssauro123
A talented musician and pedagogician which understands modernist/atonal music that is also an YouTuber?
We are blessed.
@greg7102
Berg and Beer - Bravo!
@aTonalHits
Greg beer will go great with most music!
@AMolinaComposer
I need to try that beer!
@aTonalHits
Alfonso Molina you must! But come to NYC first! Will make it worth your while.
@AMolinaComposer
aTonalHits sounds like a plan!!, that would be amazing.