Word: schoenberg
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Dates: during 1960-1969
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...SCHOENBERG: PIANO CONCERTO AND VIOLIN CONCERTO (Columbia). A new release bringing together two earlier performances of these ripe, satisfying examples of twelve-tone composition. With Robert Craft conducting the nadian Broadcasting Corporation Symphony Glenn Gould plays the rich, almost Brahms-like piano part in the first concerto, and Israel Baker tackles the difficult violin work in the second concerto. Both pieces demonstrate that the intricacies of the dodecaphonic scale in no way limit emotional expression. "If a composer does not write from the heart, said Schoenberg, "he simply cannot produce good music." Schoenberg did both...
Miroir soars and sparkles on occasion, but fails to sustain a high level of quality throughout. The piece's major fault is that it lacks any logic to carry the listener through. The serial composition is by the composer's own admission, a musical almanac "going from Beethoven to Schoenberg in five minutes." Harmonically it shows a startling resourcefulness, both tonal and non-tonal. Particularly amusing was the recurrence of a particularly slushy theme, either because of the humorous contrast with Pousseur's art, or perhaps due to its explicit banality in the Pousseur context...
...seems to be in constant metamorphosis. As contemporary composer, Kirchner has been awarded a Pulitzer prize for a work that combines sounds produced electronically with those of a string quartet; as teacher of courses for music concentrators, he is tireless in his efforts to spread the gospel according to Schoenberg. Yet Friday night there he was, conducting the Cantata Singers and an ensemble of Boston-area professionals in a program consisting solely of music by J. S. Bach...
...basis of Nielsen's tensile construction, though, is the struggle between various keys within the same piece, a device that he carried to its logical limit while composers from Wagner to Schoenberg were melting down traditional notions of specific keys. The first movement of his Symphony No. 6 achieves a tragic effect by trying vainly to return to the idyllic G major from which it starts; it succeeds only in reaching the neighboring keys above and below...
...have to make them a success." Mehta began pushing and making successes-while still a student. After the Hungarian revolution in 1956, he organized a student orchestra in seven days and conducted it in a concert at a refugee camp outside Vienna. In 1958, he boldly programmed an all-Schoenberg concert, did so well that he parlayed it into further bookings...