The ever-brilliant
Simon Rattle and the
Berlin Philharmonic show off the arranging genius of
Arnold Schoenberg, whom listeners might know best for his twelve-tone compositions and pedagogy. The composer, however, arranged
Brahms' works for orchestra with so much success, in fact, that one can easily believe they are orchestral works by
Brahms himself. The Piano Quartet No. 1 in G minor is a perfect example of this. Reworked for a lush, grand orchestra, it begins with a moody theme that repeats throughout the first movement. The tempo picks up and then gives way to lyrical winds and a grand sound that is almost Russian in character. And yet, the orchestra can maintain an airy lightness when the music calls for it. A livelier version of the haunting theme returns in the second movement, and
Schoenberg has orchestrated the music so that the instruments are shown off best with their unique timbres. The third movement sounds characteristically Brahmsian, with its dotted rhythms, timpani, and its large scale of the orchestra. This shows
Schoenberg's genius, for he truly understands the earlier master and can orchestrate piano music to truly sound like him. The conclusion is a wonderfully vigorous, violent piece that has echoes of
Brahms' Hungarian Dances, with its long lyrical lines that contrast with
Brahms' legendary counterpoint. It is hard to believe that this was not written by
Brahms for orchestra, except for the giveaway:
Schoenberg's clever addition of a xylophone. The Accompanying Music to a Film Scene (or, Begleitungsmusik) is just that: very film-like and programmatic. It shimmers with various tone colors, moody and mysterious and full of angst, as the full German title suggests. Once again, it shows off
Schoenberg's versatility and brilliance as a composer, how he plays with the listener's expectations by putting a climax earlier than the very end. It has a horror-film quality to it that is stirring, but the piece dies out calmly. The Chamber Symphony No. 1 is not so much a structural piece as it is a flowing one; it is best not to question it, but to go along with it. It evolves seamlessly, using the strings in various unique ways, even including a lovely violin solo in the third movement. One can hear some of the famed twelve-tone method in the second movement as well. Overall, this is a wonderful introduction to
Schoenberg for those who might feel intimidated by his less conventional work, but it is also a worthy addition to any
Schoenberg fan's collection.