Word: schoenberger
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...Baby Doe's Willow Song, the stunning Silver Song (sung by Met Coloratura Dolores Wilson) and a moving choral, Lovely Evening. Sophisticated musically, the score nevertheless is marked by a clarity rare to the U.S. opera stage. "Most composers today seem to be writing under such influences as Schoenberg and Stravinsky," says Moore. "I tried to return to melody as the key to communication." Others will get a chance to decide how he has succeeded. Sold out for its 16 Central City performances, The Ballad of Baby Doe will probably be performed on Broadway in the fall...
...some very unusual instrumentations. The piece is difficult to understand after only one hearing, but there is always activity, the music is always going somewhere, even when the direction is unclear. In spirit, if not to the note, the trio is a twelve-tone work, in the style of Schoenberg and his disciples. This performance was not altogether successful. Rzewski was too heavy-handed at times, and John Gibson lacked assurance. Karen Peterson, however, managed the flut part well...
...Copland's durable old (1925) jazzy Music for the Theater. After the intermission. Hungarian Soprano Magda Laszlo. in her U.S. debut, sang solos in Dallapiccola's song trilogy, An Mathilde; its rich-hued. profoundly melancholy finale had to be repeated after a storm of applause. And Schoenberg's freewheeling arrangement of a Handel concerto grosso, Concerto for String Quartet and Orchestra (featuring the Juilliard Quartet), was just puzzling enough to make a satisfying finale...
Dallapiccola: Canti di Prigionia (St. Cecilia Academy Chorus and Orchestra conducted by Igor Markevich; Angel). Italy's most important composer, Luigi Dallapiccola, admires both Schoenberg's twelve-tone system and Palestrina's pure, polished polyphony, and these long, suppliant "songs of prison" combine some interesting aspects of both...
...afraid of becoming an old maid. When the curtain parted to show Hagar sitting on her house steps, feet together, head and shoulders agonizingly tense, the audience burst into applause: Ballerina Kaye created the part in 1942, and nobody else has ever danced it. Pillar of Fire (set to Schoenberg's Verklarte Nacht) established her as a unique dancing actress who brought new depth to ballet. Last week Ballerina Kaye danced the part with the same old tragic fervor. ¶ Pillar's British Choreographer Antony Tudor, 46, who was originally "curator" of the company's Modern English...