Word: schoenberg
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...important beginnings in musical history are often easy to identify: the birth of the romantic symphony with Beethoven's Eroica, for example, or the founding of German Romantic opera in Weber's Der Freischütz, or the full flowering of the twelve-tone system with Schoenberg's Op. 25 Piano Suite. Endings, however, are more elusive. When precisely did the Baroque conclude? Did the symphony die with Brahms or Mahler, or is it still a vital form? These are moot questions...
...tragedies of the 20th century, with both sides to blame. As new music became more intellectually rigorous-until the point of a work was not how it sounded but how it was "organized"-audiences searching for emotional satisfaction turned away, seeking solace in earlier periods. The counterrevolution against the Schoenberg-Webern-Boulez triumvirate is now well advanced, however, with a variety of conservatives, neoconservatives (including apostates from serialism such as George Rochberg) and so-called minimalists all striving to make new music vital again. Glass generally is lumped with Composers Steve Reich and Terry Riley in the minimalist camp because...
...fascinating show, but a failure. Now Coe has avowedly set out to rely almost wholly on the words and the audience's imagination (as the text itself repeatedly states), and to avail himself of a physical stage and props approaching Elizabethan simplicity. Coe has thus echoed the assertion of Schoenberg, high priest of atonal composition, that 'there is still much good music to be written in C major,' and of Mies van der Rohe, the renowned architect, that 'less is more...
...grown steadily. The reason is not hard to find. Despite a sometimes highly dissonant and rhythmically spiky style, his music has a strong, direct appeal. As Musicologist Mosco Garner has observed: "Of the three musicians who dominated the musical scene during the first half of the 20th century-Stravinsky, Schoenberg and BartÓk-it is the Hungarian master who, despite his intellectual control, remained the nearest to the instinctual, the irrational in music, and thus to the Dionysian spirit...
What made BartÓk's music so unusual, so unsettling? Other composers-Stravinsky, Prokofiev -were rhythmically tricky; still others-Schoenberg, Webern-were even less conventionally melodic. With BartÓk the difference lay in his rejection of the German musical models that had long been dominant. Visiting the dying composer in New York one day, Dorati recalls finding him engrossed in a copy of Edward Grieg's Piano Concerto. Asked why he was studying such a romantic score, BartÓk said that Grieg was important because he had "cast off the German yoke...