Word: schoenberger
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...Episcopal Church when he was six. By the time he was packed off to New York Military Academy at Cornwall, 13-year-old Robert Craft was an avid collector of modern scores, spent his spare time poring over copies of Stravinsky's Sacre du Printemps and Les Noces, Schoenberg's Pierrot Lunaire. Says Craft: "I led a kind of secret childhood life...
...want to do or can't do." Known to U.S. listeners-from his records only-as a master of the classical repertory, he is equally famed in Europe as the tireless proselytizer for modern music, the man who got hearings for Berg, Von Webern, Hindemith, Schoenberg, Milhaud long before their names had seeped into the record catalogues. Last week Conductor Scherchen was out plugging the work of another early comrade in music; in Frankfurt he conducted a series of packed performances of Igor Stravinsky's witty 18th century-styled opera, The Rake's Progress...
...Boulez, Tchaikovsky is "abominable," Brahms "a bore," Twelve-Tone Pioneer Arnold Schoenberg an arrested post-Romantic who "discovered the words but never found the proper syntax for them." Just about the only older composers for whom Boulez has a kind word: Schoenberg's late pupil Anton Webern, and France's 49-year-old Organist-Composer Olivier Messiaen, from whom Boulez sought composition instruction after giving Paris' traditionalist Conservatoire the back of his hand ("The composition professors were imbeciles"). From Webern, Boulez derived and refined Schoenberg's twelve-tone technique to its uttermost austerity, and from Messiaen...
...case of Composer Arnold Schoenberg, creator of the twelve-tone system, Avant-Gardist Kokoschka found a personality streak that he shared: a sense of persecution by the crowd. "When we talked," Kokoschka recalled last week, "it was only about the stupidity of society. We were both despised at the time. Schoenberg received many rotten eggs in the face, and I used to be called a jailbird...
...Schoenberg's music, at times hideously difficult, underscores the contrast: it is at its sweetest and most melodic in Act II when the people of Israel prostrate themselves before the Calf, at its harshest when Moses struggles with his hard faith. In the arguments of Moses and Aron, the brasses snarl, the chiseled strings shriek in a web of complicated polyphony. The score is made more difficult by Schoenberg's technique of interlocking choral and solo parts in an almost unintelligible cacophony. The Columbia recording (conducted by Germany's Hans Rosbaud) demonstrates that Composer Schoenberg may have...