Word: schoenberg
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Dates: during 1960-1969
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...insider's care, and the ability to get what he wants from an orchestra. This is why he has become one of the most sought-after guest conductors in Europe and the U.S. It helps explain why, in the space of only a few years, his recordings of Schoenberg, Berg, Debussy and Stravinsky have been such successes. Says the Los Angeles Philharmonic's Zubin Mehta: "When he does Stravinsky's Le Sacre du Printemps, it's so clear and expert, it's like George Szell's Eroica. It gets on your nerves...
...compositions of his written over the last five years. Bruce plays string bass. The other players are relatively unknown. "The whole album is serialized improvisation. I've written all the tops and bottoms and provided serialized rhythms and pitches for the others to improvise upon." Influences of Schoenberg? "No, probably more Webern than anyone else, especially since many of the cuts are so short. One is fifty seconds long. Webern, man, he was too much! Years ahead of his time. People still haven't caught...
...suffice. And so, what he worked out for himself was a tone-clustered, highly contrapuntal and dissonant style. By his self-imposed rules, no note in a melodic line could be repeated until eight or so others had intervened. His work has an atonal quality that often sounds like Schoenberg's middle-period serialism. Yet Ruggles had no use for the strict twelve-tone row, which he called "a dog chasing its tail." He evolved his own technique. "You know that place in Sun Treader where the canon comes round and overlaps with its retrograde?" he asks. "It took...
Anguish to Joy. Continuing in its tradition of skillful, venturesome productions, the Santa Fe company last week gave the U.S. premiere of Arnold Schoenberg's dark, somber statement of musical theosophy, Die Jakobsleiter (Jacob's Ladder). Schoenberg wrote it in 1917 as an oratorio, but left it unfinished at his death in 1951. Santa Fe presented it as a visually cool, shadow-filled, dreamlike mystery play. In the final scene, the Dying Person (Soprano Patricia Wise) is led up a silver-covered staircase as she approaches death; then she begins to realize that she has gone through many...
...When Schoenberg discovered how to organize atonal music by creating a new "scale" for each composition-an arbitrarily arranged series of the twelve chromatic tones-Webern extended the serial principle to such areas as rhythm and dynamics. Here he approached a state of total abstraction in which a piece would unfold entirely in accordance with the rules invented for it in advance by the composer, much as a computer responds to its mathematical programming...