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...81st), which will have their premieres later this season. They will give collectors of Balanchine paradoxes fresh material for study, for they are as dissimilar in substance as any two ballets in the man's repertory. One. a severe abstraction, set to the strains of Atonalist Arnold Schoenberg's Opus 34. fits the music so closely that it seems to simplify the score. But the dance movements themselves are so involved that balletomanes will be arguing about it for a long time...

Author: /time Magazine | Title: Music: Ballet's Fundamentalist | 1/25/1954 | See Source »

...read with interest Mr. Schoenberg's "Cabbages and Kings" on the subject of drama at Harvard. He would be surprised to learn how many members of the Harvard Dramatic Club, at least, are as strongly in favor of original and/or little-known plays as he is. The problem, basically, is financial...

Author: NO WRITER ATTRIBUTED | Title: PHANTOM PUBLIC | 1/5/1954 | See Source »

...Schoenberg: Five Pieces for Orchestra (Chicago Symphony conducted by Rafael Kubelik; Mercury). A pre-twelve-tone work (1909) by a man who had already turned his back on Wagner and Debussy. The score, which seeks to suggest the shrugs and nudges of one man's subconscious, ranges from vaporous to terrifying. Performance: excellent...

Author: /time Magazine | Title: Music: New Records, Dec. 28, 1953 | 12/28/1953 | See Source »

...flowers run wild, help free the improbable story from the sight bounds of possibility. And, while there was probably little confusion, Peter Brooks' direction keeps the action flowing at a leisurely step. In all, this pleasant trifle should enjoy a respectable run applauded by many friends. ROBERT J. SCHOENBERG...

Author: NO WRITER ATTRIBUTED | Title: The Little Hut | 9/30/1953 | See Source »

Thus the LaSalle String Quartet spoon-feeds a young audience its first taste of a "difficult" musical form, chamber music. It finds that its layman-language explanations work very well with listeners of all ages, and just as well with the Bartok and Schoenberg in their repertory as with the classics. When the performance is finished, the quartet usually gets a rousing cheer from a young audience, plus such probing questions as "What is the white stuff you put on the bows?" (rosin), and "Why doesn't the music have titles instead of just numbers...

Author: /time Magazine | Title: Music: Argument for Strings | 8/3/1953 | See Source »

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