Word: schoenbergian
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...quickly dismantle it and show which pieces became part of adjacent schools of thought, which changed shape and became different schools of thought, and which were never used again. Suddenly, sentences like, “[Alban Berg’s Three Pieces for Orchestra] are fully symphonic in conception, Schoenbergian in content but Mahlerian in form” make total sense, as Berg, Schoenberg, and Mahler are all three simply components of Ross’s master architectural scheme, to be manipulated at will.Not surprisingly, to the extent that there is a fundamental narrative, it is the story of high...
DIED. Roger Sessions, 88, influential, uncompromising composer of reconditely complex orchestral, chamber and vocal works; in Princeton, N.J. Revered by fellow musicians, Sessions adapted such modernist techniques as Stravinskian neoclassicism and Schoenbergian serialism to his individual style, allowing lyricism and emotional color to come through the bursts and layers of sound. Almost all his works, however, are dense, dissonant and difficult both to perform and to listen to, with the result that some compositions waited years for premieres; among his best-known and least inaccessible works were his score for The Black Maskers (1923) and Symphony...
...costumes: ballet, acrobatics, pantomime, acting, singing, and, I believe, some knowledge of martial arts. The music is played by an orchestra of Chinese instruments in the wings and at first sounds as strange and forbidding as Schoenberg does to Tschaikovsky lovers (interestingly, some of the singing sounds rather like Schoenbergian speech-singing...
...only link for many years between the neo-classical Boulanger and the expressionistic Schoenbergian schools of music, he developed a highly individual, tonal style that is at once bitter and lyrical. Buoyed up by his melodies, his unaffected words often strike the sincere and ingenuous chord of a folksong...
...pioneering efforts, as well as to pay the composer a personal tribute, Blackwood followed the Five Pieces with his own Three Short Fantasies, Op. 16 and John Perkins' Caprice (1963), which Blackwood commissioned when the two composers were colleagues at the University of Chicago. Both works begin with Schoenbergian flurries of pianistic cacophony; both depend for internal variety on the alternaton of different timbres, registers, and pianistic effects; and both are long--perhaps too long for the basically epigrammatic nature of the twelve-tone idiom. Without demeaning the compositions themselves, I must say that by the time Blackwood...