Not all 20th century music is dark, tortured and anguished. Not all 20th century music is as impersonal and cold as so-called neo-Classicism. Here is a composition which is no more tortured than Mozart's Jupiter Symphony, and equally elevated. Even Mozart's Requiem seems more troubled than this noble work. I present this work as an illustration that between this work and, say, that of Ustvolskaya's, the most extreme of stylistic contrast can be found within dodecaphony. It is still not an easy composition to appreciate. It is not even necessarily the best introduction to Schoenberg. Amid this all is the most monumental of all homages to J.S. Bach, who for Schoenberg was the master of all masters. Perhaps most surprising of all is the fact that the work is structurally closely related to the Brahms St Anthony Chorale Variations. Even the variations technique employed is quintessentially Brahmsian: that of so-called 'developing variations'. It is probably no coincidence that just as the Variations was Brahms' first foray into orchestral music, so too was the Schoenberg Variations his first dodecaphonic symphonic exposition. Completed in 1928, it was premiered by none other than Wilhelm Furtwaengler conducting the Berliner Philharmoniker. If it is true that the later Schoenberg wrote more singable themes, one can always say that the Mozart Jupiter does not exactly sound like a potpourri of tunes either. There is more to music than this. The works opens with a very mysterious sounding introduction, which builds up and dies away to lead into the principle theme of the work. The principle theme starts somewhat plaintively in the cellos before climbing higher towards its climax with theme taken up by the violins, at once discreetly expressive and mysterious. From then, much as with the Brahms Variations, there are groups of variations, although some variations fulfil a bridge function. The first group of variations are scherzo-like in character, after which follow a group of slow movement-like variations. A group of transitional variations leads into a long free fantasia before we return to the reprise. Variations I: I see this as being very much a transitional variation. Variation II: This also is transitional, much quieter in character, with a solo violin in dialog with woodwinds providing a sense of intimacy and repose to prepare for the scherzo group of variations. Variation III: This is one of the most immediately appealing of all the variations. It has a quirky scherzo like character, which builds up into a climax in which the harmonies seem to explode out in a manner unique to Schoenberg. Variation IV: This variation maintains a scherzando character while having an expressive aspect too - much like one of Brahms slow scherzi. Variation V: This is the central emotional climax of the work lead by the violins. The variation itself has an A-B-A' form and culminates in the transcendental harmonic eruption, of an untroubled nobility and breadth which recalls the Mozart Jupiter Symphony. Variation VI: Here is the start of an effective slow movement of the work, which also functions as a bridge between the previous group of movement and the next, more important variation. Variation VII: this is the most important and most mysterious variation in the 'slow movement' like group of variations. Variation VIII: the tempo abruptly hastens and we run headlong into the final finale and fantasia. Variation IX: this is transitional bridge variation leading into the finale. Finale: This is a long fantasia in which the notes in the tone row B-A-C-B natural take on an added significance - in German of course this spell BACh. At the climax of the Finale Schoenberg spells out his name in the brass, as though to shout his name out at the top of his voice: B - A -C - h!!! Reprise: a soon as Schoenberg has finished shouting out the name of the his god amongst composers, there follows the mysterious soft entry of the main theme, which again soars up to its climax - there, as soon as the theme is stated, an outbreak out apparent music chaos erupts, only to be silenced by a voice which emerges triumphantly from its midst: B - A - C - h!!!! Recommended performances: 1. Simon Rattle: City of Birmingham Symph (EMI). The mysterioso feel of the introduction, the expressivo of the climax of the Theme, the transcendentality of the final climax of Variation V, the triumph of the BACh motiv, all these such elements are captured beautifully by Rattle. In fact this is easily my first choice in this work. It is coupled with Erwartung and an excellent performance of the first Chamber Symphony. 2. Pierre Boulez: Chicago Symphony (Erato) Recommendable if not the unconditional success you might have expected. For once I think the tempi in one or two passages are played little too fast. The playing of the Chicago Symphony is marvellous, but I know that Boulez does not think particularly highly of this work. This is mainly due to his feeling that it is too Brahmsian, and feel Schoenberg tends to treat the tone row to much like a theme to be subjected to variations. He prefers the Webern variations. There is still much to admire in this recording, even if I wish the final BACh was articulated with a greater sense of triumph. Variation V has great expressive intensity, and at its reprise the Theme has a wonderfully intimate lushness. It is coupled with a Pelleas und Melisande which is nothing less than revelatory. 3. Herbert von Karajan: Berliner Philharmoniker (DG) A highly recommendable performance, whose highlights include an unsurpassed account of Variation VII, with all the sense of mystery one could want. The final BACh is articulated with a satisfying sense of victory. Certainly Schoenberg wrote more immediately accessible works later in his career such as the late String Trio, and the Piano Concerto but never again was Schoenberg to write a work whose skies were so blue and so cloudless, so transcendental and so exalted. It is a work which once understood its could not possibly be more completely natural, and joyfully spontaneous: Just like Mozart Jupiter Symphony. Satoshi Akima Sydney, Australia [log in to unmask]