Word: schoenberg
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Dates: during 1960-1969
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...world of string chamber music, it takes works of great individuality to prevent the subtleties and arcanities of the medium from melting into homogeneity. The String Trio Op. 45 of Arnold Schoenberg is much like the Sessions in outward appearance: three sections of alternating mood written in a deceptively similar atonal style...
Mahler, born in 1860, was one of the last great Romantics. Because of the way he transformed the symphonic tradition extending from Mozart to Anton Bruckner, he was also, in Steinberg's words, "the father of contemporary music-the forerunner of Schoenberg, Berg and Webern." Yet no composer was ever less interested in the objective development of musical form as such. For Mahler, composing was a highly subjective process of grappling with the deepest, most painful questions of life. "The creative act and actual experience," he said, are "one and the same...
Well, face it: 1763 was a very dull year anyway. It hardly holds a candle to 1924, for example. That's when insecticide was introduced; Juan Gris lectured at the Sorbonne; Bloch wrote his piano quintet; Gershwin, Rhapsody in Blue; Puccini, Turandot; Schoenberg, Erwartung; Forster, A Passage to India; Galsworthy, The White Monkey; Shaw, St. Joan; Mann, The Magic Mountain. It was also the year that Woodrow Wilson and Lenin died, that Hitler got out of prison, Coolidge was elected President, China, Britain and France recognized the U.S.S.R., Churchill became Chancellor of the Exchequer, and, as everyone no doubt...
...program began with five piano pieces from as sorted opera by Arnold Schoenberg. Except for the final Op. 11 No. 3, all were in Schoenberg's innovating twelve-tone idiom...
...demonstrate the indebtedness of twentieth-century music to Schoenberg's pioneering efforts, as well as to pay the composer a personal tribute, Blackwood followed the Five Pieces with his own Three Short Fantasies, Op. 16 and John Perkins' Caprice (1963), which Blackwood commissioned when the two composers were colleagues at the University of Chicago. Both works begin with Schoenbergian flurries of pianistic cacophony; both depend for internal variety on the alternaton of different timbres, registers, and pianistic effects; and both are long--perhaps too long for the basically epigrammatic nature of the twelve-tone idiom. Without demeaning the compositions themselves...