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...Pieces for Orchestra, written, incredibly, in 1909, reflect the expressionism Webern adopted from Schoenberg. They realize his credo, "Once stated, the theme expresses all it has to say; it must be followed by something fresh." At the same time, they embrace the musical principles of the Brahms from which Webern had just emerged (the Six Pieces are only Opus 6). That is, they develop a single, chromatic figure, through varying rhythms and intervals. Every successive point is fresh, but presents only the logical implications of what has preceded...

Author: By Jorl E. Cohen, | Title: Senturia's Last Bow | 5/1/1962 | See Source »

...perfect instrument," is not worried about overburdening singers ("Only composers like Mascagni ruined voices-because they did not understand vocal problems"). Son of a wealthy Venetian engineer, Nono studied music and law simultaneously, was greatly influenced by the works of Composer Arnold Schoen-berg-whose daughter, Nuria Schoenberg, he later married. Now living in Venice, Nono turns out a steady two or three works a year, often calculating their complex connections in algebraic equations...

Author: /time Magazine | Title: Music: Imaginative Ears | 4/27/1962 | See Source »

...These quasi-mythological experiences, Resnais suggests, constitute a cure for the fashionable malady of unbeing, and to elucidate them he has instigated an Einsteinian revolution of cinema. He applies the principle of relativity to the art of film, as Picasso applied it to painting and Schoenberg to music. The result is true cubistic cinema, in which reality is "dismantled," as Resnais puts it, and reassembled in such a way that it seems to be experienced in every aspect simultaneously - one French critic describes the result as "total cinema." To begin with, Resnais annihilates time by chopping his story into short...

Author: /time Magazine | Title: Cinema: All Things to All Men | 3/16/1962 | See Source »

Because both Barbaud and Blanchard are modernists, much influenced by Schoenberg, they have instructed Gamma in the twelve-tone scale so that it can spew forth Schoenbergian chamber works on punched tape with confidence and ease. Says Barbaud: "They are in some respects better, artistically as well as technically, than some of Schoenberg's works...

Author: /time Magazine | Title: Music: The Machine Closes In | 2/16/1962 | See Source »

...American Mercury), show neither the musical erudition of Britain's Ernest Newman nor the impeccable taste of that other musical iconoclast, George Bernard Shaw. Mencken's ears were pretty well shut to the 20th century: Stravinsky, he insisted, "never had a musical idea in his life," and Schoenberg was a "tinpot revolutionist" dealing in "cacophony." But he knew the music of the great 19th century German symphonists almost note-perfectly, and he regarded them with an awe curious in a man so intoxicated with words. He once wrote to a friend: "I'd rather have written...

Author: /time Magazine | Title: Books: The Great American Goth | 9/29/1961 | See Source »

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