Word: schoenberg
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Dates: during 1960-1969
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...fair share. But, she says, "it gets harder and harder to adapt yourself to the person you're dubbing. Eventually you want to play the character yourself." Last week Marni Nixon was actually mouthing the words as well as singing them. Appearing with the Seattle Symphony in Schoenberg's Pierrot Lunaire and the Poulenc-Cocteau short opera, The Human Voice, she proved herself a creditable actress, won critics' praise for "superb musicianship," a performance full of "ease and assurance...
...MUSIC OF ARNOLD SCHOENBERG, VOL. II (Columbia). Conductor Robert Craft, long-established as a specialist in the modern repertory, remains a masterful interpreter of Schoenberg's music. The CBC Symphony is cool and clear in performances of Pelleas and Melisande, Prelude to the Genesis Suite, Three Little Orchestra Pieces, Variations for Orchestra and Verkliirte Nacht-which Schoenberg wrote as a string sextet in 1899 and revised (for string orchestra) 44 years later...
...string quartet inevitably suggests a conversation, and the Juilliard players have an agility and intelligence that pitch and color the tone of each voice to enrich the spirit of the composer. Their Mozart is 18th century parlor talk, Beethoven can sound like stentorian and political argument, Bartok and Schoenberg are full of menacing whispers and terrified screams...
...matters of repertory, the quartet is happily united behind the principle that it adopted at its founding in 1946: that it should serve all music while retaining a special interest in modern works. In its early years, it championed the works of Bartok and Schoenberg particularly, and it has played premieres of some of the best chamber music written in this century-notably the second quartets of Elliott Carter and Alberto Ginastera. Such missionary work has helped to stimulate a widening revival of interest in chamber music, and the Juilliard (which receives at least one new composition a week from...
...then he has blown his horns all over Europe and the U.S.; he is a dauntless explorer of the frontiers of sound, a man who simply wants to play as much music as any one man can. A devotee of Brazilian Composer Villa-Lobos, the twelve-tone pioneer Arnold Schoenberg and Bassist Charlie Mingus, Kirk plays modern jazz but rejects the label. "People classify modern as being cool and not wanting to sweat," he says...