Word: schoenbergs
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...Arnold Schoenberg, himself a revolutionary composer when Ives's music was more respected than played, thought his adopted country was overlooking a native genius. "There is a great man living in this country-a composer. He has solved the problem of how to preserve one's self and to learn. He responds to negligence by contempt. He is not forced to accept praise or blame. His name is Ives...
There are some who now argue that Charles Edward Ives is the finest com poser the U.S. has produced. But back in 1945, when Schoenberg singled him out, Ives was a name only to a handful of professionals, though he had anticipated Schoenberg's experiments in atonality by two decades. Not until two years later did really popular recognition begin to even the score. When Ives got the 1947 Pulitzer Prize (for a composition that lay unplayed in his West Redding, Conn, barn for more than 40 years), he was already 72. Last week, when the first American recording...
...most exciting chamber music recitals in the U.S. originate in a wooden box in a small, white clapboard cottage in Vermont. Into the box go requests for performances of everything from Mozart to Schoenberg; out of the box come twice-weekly concerts played in a converted cow barn by some of the world's most famed and gifted instrumentalists. Last week the barn echoed to Beethoven's Sextet in E-Flat, Martinu's Three Madrigals for Violin and Viola and Bach's Brandenburg Concerto No. 5. Occasion: a concert at Vermont's Marlboro Festival...
...which imitation and repetition have momentarily taken the place of creative statement. If the art in the Festival has little to say, why blame the Festival because we're in the tag-end of a stylistic period from which new forms arise? The cure for the atonal music of Schoenberg is not more and more Victor Herbert. The cure for the Boston Arts Festival is not to kill it off because it does...
...bulk of Composer Riegger's work is atonal-in fact, he was an atonalist back in the days before the tone row had replaced the velvet neckcloth as a musical status symbol. But in contrast to the cool, desiccated manner of European twelve-tone composers of the Schoenberg-Webern school, Riegger turned out propulsive, ruggedly rhythmic compositions full of jangling dissonances and roughhewn contrasts. The effect was sometimes as startling as an impressionist-styled canvas executed with a house painter's brush...