Word: postserialist
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Schat's score calls for a sizable chorus and a huge orchestra, heavy on brass and percussion (including steel drums). Stylistically he is what might be called a postserialist. Having explored the twelve-tone system in earlier compositions, he now works in a freely eclectic vein, yielding at times to the "tonal nostalgia" that Robert Craft pointed out in Alban Berg's music, at other times borrowing the jazzy strains of theater music. At Aspen, his pounding rhythms generated a powerful momentum and his thickly massed sonoraties built to sharp climaxes, especially in the big choral scenes...
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