Word: schoenbergs
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TWENTIETH CENTURY CHAMBER MUSIC. A concert of works by Ives, Ruggles, Schoenberg, Webern, Varese and others. Adam House Junior Common Room; 8:15 P.M. Free
...delayed World Premiere of Junior Fellow David Lewin's Essay on a Subject of Webern for chamber orchestra. The work is derived from the second of Webern's Op. 28 string quartet; but its material is wholly original--the melodic declaration often seems closer to the manner of Arnold Schoenberg. Mr. Lewin has employed considerable economy in composition, and the piece is concise, clear and very pleasing; the wind writing, in particular, shows considerable delicacy and precision. Mr. Senturia and his orchestra brought to the work the same assurance and competence that marked the entire program; their flowing performance complemented...
Night Flights. The composer was introduced to the twelve-tone idiom in 1924 at the Florence premiere of Schoenberg's Pierrot Lunaire. "Only two people in the hall were impressed by the music," he recalls. "One was a very unimportant young man. Me. The other was Giacomo Puccini." Dallapiccola, who for a time composed in a largely traditional, tonal style (he has always been an ardent Wagner fan), gradually started learning twelve-tone technique, teaching himself by studying Schoenberg's scores. "But in those days nobody appreciated my music," and he and his wife were sometimes reduced...
Written at the end of Schoenberg's tutelage of Webern in 1909, the work is more approachable than his later 12-tone compositions, for it is only occasional contrapuntal and moves with a melodic continuity quite different from the strict counterpoint he adopted later. Continual variation of melodic fragments creates in each movement a concise, poignant compression, and the absence of tonality gives his chromaticism an ethereal unworldliness. Pulling free of the mundane world with several searing dissonances, Webern uses quavers, harmonics and undulating dynamics to create a mood of cerie, tortured contemplation...
...star-struck spectator-it features a Hollywood reject (Jean Seberg) and a yam-nosed anonymity (Jean-Paul Belmondo). What's more, it asks the moviegoer to spend 89 minutes sitting still for a jaggedly abstract piece of visual music that is often about as easy to watch as Schoenberg is to listen to. Then why, in the last year, has this picture done a sellout business all over France? Belmondo explains some of the excitement. A ferally magnetic young animal, he is now being called "the male Bardot." But more important than Belmondo are the film's heart...