Word: schoenbergs
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...takes scarcely a quarter of an hour to perform. The shortest of his Three Small Pieces for Cello and Piano (1914) consists of nine measures. His Six Bagatelles for string quartet (1913) go by in an average of 40 seconds each-expressing, in the words of his mentor Arnold Schoenberg, ''a novel in a single gesture, joy in a single breath...
Compared with Webern, his fellow revolutionaries Schoenberg and Berg were vestigial romantics. They used Schoenberg's twelve-tone system to rework the old, large-scale forms of Wagner and Brahms. Webern used it to abolish those forms, along with the entire principle of elaboration and climax. He let his three-or four-note motives suggest their own, rather static structural implications through intricate counterpoint and variation-not development. ''Once stated,'' he said, ''the theme expresses all it has to say.'' By relating everything else to that theme, he attempted to achieve...
...whole life, Craft commented, was ''a search for the strongest, the most all-abiding rules.'' He believed that only in ''unprecedented shackles'' could ''complete freedom'' be found. He pursued the search in his lifelong veneration of Schoenberg, in his ardent religiosity and in his rigid domestic discipline, which included aligning the pencils on his desk according to length and color. He even carried it into the pages of Mein Kampf. Although Schoenberg and other Jewish colleagues were ostracized, although his own music was denounced by the Nazis...
...conducting his own orchestration of some Schubert dances-a gesture of homage that was not unusual for him. What passed for classicism in his own day, he wrote in one of the letters quoted by the Moldenhauers, ''emulates the style without knowing its meaning . . . whereas I (and Schoenberg and Berg) endeavor to fulfill this meaning-and it remains eternally the same-through our means.'' Webern's meaning may still elude us. But the pure aesthetic integrity of his means continues to beckon us to the heights...
...Luftwaffe uniform and appears in turban and robe as Turkish Pasha Selim, a nonsinging role in Mozart's The Abduction from the Seraglio. The role is not a one-shot stop from the stalag for Klemperer. The son of famed Conductor Otto Klemperer, he has also narrated Schoenberg's Gurre-Lieder with the Boston Symphony Orchestra; next spring he will do the narration of Beethoven's Egmont with the New York Philharmonic. Klemperer remains fond of Klink. Those residuals still trickle in, after all, and then there is the renown. "Everyone at the Met is a Hogan...