Word: schoenberg
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Dates: during 1960-1969
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...guiding principle of the Harvard Music Department, it is often said, is that music should be seen and not heard. The recital by Easley Blackwood Monday night was one of the department's rare gestures of support to performing music. Composer-pianist Blackwood performed works by Schoenberg, Charles Ives, himself, and Harvard's own John Perkins (of Music 154 fame...
...most satisfying performance of the evening was that of Leon Kirchner's Sinfonia, a dark and powerful work bearing traces of Schoenberg's influence. Kirchner likes to have a lot going on at once. It's difficult to grasp the entire piece on first hearing, but the HRO's performance helped. Conductor James Yannatos directed with clarity and sensitivity, and the orchestra responded nobly, playing difficult passages as cleanly and delicately as one could wish...
Leon Kirchner will direct a concert of music by Stravinsky, Bach, Kirchner, and Schoenberg at 8:30 p.m. tonight at Sanders Theatre...
...program was ambitious, a no-compromise mixture of the new, the old and the damnably difficult. In Schoenberg's slow, brooding Five Piano Pieces, he stretched and examined each phrase with all the intense care and concentration of a surgeon. In Beethoven's Diabelli Variations, an awesome challenge to pianists twice his age, he impetuously jiggered tempos and juggled rhythms without catching the full depth and breadth of the music. In Mozart's Sonata in F Major, he was all lucidity and logic, rippling through the trickiest passages with an almost playful ease. His interpretations were introspective...
...sprawling and complex, Moses and Aron demands a range of musical and technical expertise that few opera companies could or would attempt. For one thing, the libretto calls for "an orgy of sexual excess," in which herds of animals are slaughtered and naked men and women run riot. Composer Schoenberg himself ruefully concluded that it was probably "undoable...