Word: schoenbergs
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...Transición II while a colleague plucked the strings of the open-topped grand piano, occasionally walloping them with a variety of drumsticks. Offstage, Argentine Composer Mauricio Kagel tape-recorded snatches of the performance, played them back while Tudor and friend banged on. After more such pyrotechnics, Schoenberg's Pierrot Lunaire sounded almost romantic. At concert's end Keleman waited nervously for the commissar's reaction. Schoenberg, said Vucinic, was merely a "hybrid"-a musical petit bourgeois. "I prefer the outright revolutionary techniques," Keleman sighed with relief. Before the festival ended, the surprising official response...
TWENTIETH CENTURY CHAMBER AND VOCAL MUSIC. The Adams House Music Society will sponsor a concert of works by Schoenberg, Berg, Webern, Ives, Ruggles and Varese. The performers: Dorothy Crawford, soprano; Bentley Layton '63, baritone; Cynthia Carpenter, flute; Jean Louis Bourgeois '63, clarinet; Gregory Biss '64, piano; and Bruce Archibald, piano. Junior Common Room; 4:30 P.M. Free, and open to the public...
...because it preserves in a curiously suspended state all of the conventions of romanticism. At the end, the chorus launches into a hymn to the returning sun, with its suggestion of resurrection. A musical resurrection was certainly on the way when the work was written, but even Composer Arnold Schoenberg did not know at the time what it was to be. After Gurrelieder, the road led on to the forbidding atonal shrieks of Moses und Aron...
...turn of the century, a 26-year-old song tinkerer in Vienna wrote a gigantic cantata that profoundly impressed an already influential German composer, Richard Strauss. To Strauss, Arnold Schoenberg's Gurrelieder heralded a new flowering of post-Wagnerian romanticism. But the work was, in fact, only a massive monument to a musical tradition about to decay. After it, Schoenberg was to begin the experiments with atonalism that eventually determined the direction of 20th century music. Once popular in Germany, Gurrelieder had its U.S. premiere under Leopold Stokowski in 1932, has rarely been performed since. Last week at Carnegie...
Originally, Schoenberg scored Gurrelieder for four choruses, five solo voices, and a greatly augmented orchestra, including four harps and a celesta (in last week's performance, Stokowski managed with a standard-sized orchestra and only one choir). All this musical effort supports a series of songs linked by orchestral interludes and based on a medieval Danish story somewhat similar to the Tristan and Isolde legend. King Waldemar has married for political reasons but continues to pine for the Princess Tove. to whom he has presented his castle at Gurre. Tove is put to death by the queen, and Waldemar...