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...open-topped grand piano, occasionally walloping them with a variety of drumsticks. Offstage, Argentine Composer Mauricio Kagel tape-recorded snatches of the performance, played them back while Tudor and friend banged on. After more such pyrotechnics, Schoenberg's Pierrot Lunaire sounded almost romantic. At concert's end Keleman waited nervously for the commissar's reaction. Schoenberg, said Vucinic, was merely a "hybrid"-a musical petit bourgeois. "I prefer the outright revolutionary techniques," Keleman sighed with relief. Before the festival ended, the surprising official response had started the hottest rumor in the Yugoslav musical world: the Communist Party...

Author: /time Magazine | Title: Music: Revolution in Zagreb | 6/2/1961 | See Source »

...sampling of contemporary Italian music played by the Milan Radio Orchestra, a concert of atonal chamber works by France's Parrenin Quartet, an opera by Germany's Werner Egk. The tone of the festival reflected Tito's promise of a free hand, but Chief Organizer Milko Keleman, 37, an instructor in composition at Zagreb Conservatory, was understandably anxious when Cultural Relations Commissar Drago Vucinic showed up for a concert of electronic works played by the Cologne Ensemble for New Music...

Author: /time Magazine | Title: Music: Revolution in Zagreb | 6/2/1961 | See Source »

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