Word: schoenberger
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Dates: during 1980-1989
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Today, the music of this small, frail man with the burning eyes of a visionary has found a home in the world's concert halls. If it has proved less popular than Igor Stravinsky's and less influential than Arnold Schoenberg's, it is no less important. BartÓk wrote music of irresistible power and drive, music that in its uncompromising frankness and depth of expression discomfited audiences used to the prettifications of romanticism. Like other great musical figures - Beethoven and Wagner come immediately to mind - BartÓk was a destroyer as well...
...Unlike Schoenberg, whose twelve-tone system dominated the postwar period, BartÓk founded no school and left behind only a handful of disciples. But his effect on the music of this century has been significant. It was BartÓk, for example, who brought the percussion section to prominence in works such as the Sonata for Two Pianos and Percussion and the Music for Strings, Percussion and Celesta, liberating drums, cymbals and gongs from their traditional role as accompanists and inspiring his successors to use percussion instruments in bolder and more imaginative ways. In his six String Quartets, generally...
...arrangement for piano trio of Schoenberg's Verklärte Nacht, made in 1932 by Eduard Steuermann, emphasized in its piano writing Schoenberg's debt to Brahms. The piece is mainly a curiosity, for the piano can hardly compensate in either weight of tone or sustaining power for the missing quartet of strings. Jon Deak's Sinister Tremors (1977), for clarinet, percussion and tape, is more theatrical than Speculum's customary fare; at one point, a table containing pie tins, boards, broken glass and other objects is knocked over, simulating an avalanche...
...Vienna of his day (1862-1931) was phosphorescent in decay: Schnitzler's contemporaries numbered Sigmund Freud, Gustav Klimt, Arnold Schoenberg, Gustav Mahler and Adolf Hitler. Schnitzler chose to puncture that neurasthenic society's pretensions to honor, its pursuit of frivolity and its moral numbness. He knew the absurdity of doubling one's speed when one has lost all sense of direction...
...Schoenberg: Gurrelieder (Philips, 2 LPs). Seiji Ozawa and the Boston Symphony perform up to the Berliozian dimensions of this modern oratorio...