Word: atonalist
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Dates: during 1950-1959
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...York run in Madison Square Garden last week (see above), the New York City Ballet was staging its season's first new work, providing a striking contrast with the Russians' old-fashioned choreography. The premiere: Episodes, a two-part work set to the symphonic pieces of Viennese Atonalist Anton Webern (1883-1945). Choreographers: two modern masters of the dance, George Balanchine and Martha Graham, who had never worked together before...
Manhattan's Victorian, red-and-gilt Metropolitan Opera House was transformed one night last week into a nightmarish, shriekingly demented world of sight and sound. The occasion: the Met's long overdue production of Wozzeck, by the late, famed atonalist, Alban Berg. It was one of the great nights in Met history...
...strangest operas ever put on vinyl is Atonalist Arnold Schoenberg's Moses und Aron (Columbia, 3 LPs), which is partly a music drama based on Exodus, partly a musical essay on the nature of God. The opera's fascinating conflict develops between Moses, whose heart knows the Word his tongue cannot utter, and his brother Aron, who speaks glibly but substitutes for Moses' harsh and humble vision of God the opiate of a comforting father figure. To Aron, God is joy, to Moses He is awe. Moses' anguished faith can admit only...
Schoenberg:Gurre-Lieder (Chorus and orchestra of Paris' New Symphony Society and soloists conducted by Rene Leibowitz; Haydn Society, 3 LPs). The first complete LP recording of a turning-point (1901-11) masterpiece by Atonalist-to-be Schoenberg. The vast score calls for an orchestra of 155 instruments, a minimum chorus of 180 and six soloists, spins out the supernatural romance in a delicate blend of Wagner and Mahler. Performed and recorded with enthusiastic care...
...80th and 81st), which will have their premieres later this season. They will give collectors of Balanchine paradoxes fresh material for study, for they are as dissimilar in substance as any two ballets in the man's repertory. One. a severe abstraction, set to the strains of Atonalist Arnold Schoenberg's Opus 34. fits the music so closely that it seems to simplify the score. But the dance movements themselves are so involved that balletomanes will be arguing about it for a long time...