Word: aarons
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Dates: during 1950-1959
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...rhythmic invention, its virility, its brilliance of orchestration, the work is among the most dazzling music Stravinsky has ever written. It has some of the down-to-earth excitement of The Rite of Spring, the buoyancy of The Wedding. It proves once again, in the words of Composer Aaron Copland, that "only Stravinsky [writes so] that no one can predict just where he will be taking us next...
When Arnold Schoenberg was working on Moses and Aaron in the '30s, he predicted that it would take 50 years for his only major opera to be produced. Last week, six years after his death in Los Angeles, the work held the stage at the Zurich June Festival long ahead of the composer's forecast...
...golden calf. Vienna-born Composer Schoenberg's preoccupation with the Biblical story of Exodus paralleled his indignation at growing Naziism in Germany, his brooding about the Jews' new exodus. The opera's first and third acts are dominated by a philosophical dialogue between Moses and Aaron; Moses only speaks his part-a sign that, unlike the, glib, singing Aaron, the word fails him. Schoenberg etches the contrast between the hard but true faith of Moses and Aaron's emotional, almost political search for a human god-figure...
...opera's climactic moment, Moses causes the golden calf to collapse onstage ("Be gone, you image of powerlessness"). In the third act (not performed in Zurich because Schoenberg never completed the music for it) he denounces Aaron for having used God as a means to human ends. Aaron dies and Moses gives his uncompromising message to his people: "In the desert you shall achieve the goal: unity with...
Stephen A. Aaron followed with the Ivy Oration, in which he revealed that the setter of the Mem Hall fire was really Cesare D. Balzotti, "agent provocateur for Mr. Vellucci," discovered to be Ming Emperor Sey-Pu, whose name, unscrambled, might be easily recognized...