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...spite of an American-looking name, Frank Martin was born in 1890 in Switzerland. After winning the usual quota of academic musical prizes, around 1925 he began to experiment with the rhythms of new music, and five years later made contact with Schoenberg's 12-tone techniques. It was an elastic collision: "I may say that, while I came under Schoenberg's influence, I opposed him with all my musical sensibility." Thus, in Le Vin Herbe, a dramatic oratorio on the Tristram legend first performed in 1942, he combined 12-tone series with chordal sequences, and in his passion oratorio...

Author: By Joel E. Cohen, | Title: La Mystere de la Nativite | 12/17/1962 | See Source »

...least one rendering of that virtuoso war horse La Mer. But there is another view of Debussy-one that audiences are being reminded of more and more often in the centennial year of his birth. Debussy was in fact, a revolutionary who led such tradition-breakers as Arnold Schoenberg and Alban Berg into the 20th century...

Author: /time Magazine | Title: Music: The Emancipator | 12/7/1962 | See Source »

What made the chorale's success doubly surprising was the fact that Conductor Shaw made no compromise with his audience. He not only included Friede auf Erden by Composer Arnold Schoenberg, who is ideologically unacceptable in Russian musical circles, but he also scheduled a great deal of religious music, which is virtually never heard in Russian concert halls. Shaw, 46, was surprised by the Russians' fervent response. Said he: "You couldn't ask for anything more." Soviet Deputy Cultural Minister Alexander Kuznetsov offered a hopeful explanation. "We Russians," said he, "also understand things of the spirit...

Author: /time Magazine | Title: Music: The Spirit in Moscow | 10/26/1962 | See Source »

Master Plan. The argument revolves partly around the "finality" of Mahler's last draft. Composer Arnold Schoenberg, who was asked by Mahler's widow to complete the symphony shortly after a facsimile edition of the manuscript was published in 1924, decided not to undertake the job. "What his Tenth was to say," wrote Schoenberg, "we shall never know. It seems that the Ninth is the limit." Bruno Walter and other Mahler experts agreed...

Author: /time Magazine | Title: Music: Unfinished Symphony? | 9/7/1962 | See Source »

These are, however, observations on Schoenberg, who is somewhat easier to criticize on the basis of Monday's concert than are the Brandeis Players. Schoenberg himself would have been hard put to secure a more rigorous interpretation of the score than theirs. "Pierrot Lunaire" is complex and difficult; the Brandeis performance was smooth and professional...

Author: By Frederic Ballard, | Title: Brandeis Players | 8/2/1962 | See Source »

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