Word: schoenbergs
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Stravinsky has experimented more and more daringly in recent years with the serial or tone-row technique developed by his late great rival, Arnold Schoenberg (this technique is built on a freely selected series of individual tones rather than on the limited, key-oriented diatonic scale). But Stravinsky has added some of his own style to the serial method. In his book, Conversations with Igor Stravinsky (Doubleday; $4), Conductor Robert Craft sketched visual projections of musical styles from the simplicity of plain chant via the sound spirals of Atonalist Anton Webern to the newer serialists. Then Stravinsky added...
...like minor seconds, thereby permitting continual suggestions of tonality, while orthodox twelve-tone theory axiomatically excludes anything tonal. (Concerning Threni, Stravinsky has mentioned the "triadic references in every bar.") Also, the series is fragmented, transposed and otherwise manipulated so that lines recall Oedipus Rex and the Canticum instead of Schoenberg. The rhythm and scoring is all Stravinksy; in particular the reserved, consciously archaic Stravinksy of the past few years; more reflective, less apparently expressive than, say, Krenek's twelve-tone setting of Jeremiah, also deliberately archaic...
Haunted by Ghosts. For all his unpopularity, Mahler also had powerful admirers-Bruno Walter, Richard Strauss, and particularly Arnold Schoenberg, who called him a "saint" and confounded Mahler vith his own early experiments in atonalism ("I don't understand his music," said Mahler. "I am old, and I daresay my ear is not sensitive enough...
...fact that the program consisted entirely of works composed in this century, then this speaks ill for Harvard's intelligentsia. Certainly the first and last pieces on the program by Samuel Barber and Manuel DeFalla could not possibly be considered "difficult" works and, to those familiar with Schoenberg's atonal period and the orchestral songs of Mahler, the Octandre by Edgar Varese, the French avant-garde composer and the Four Orchestra Songs by a young American, Benjamin Cutler, should not have posed insuperable problems of listening. More importantly, perhaps, they all provided ample opportunity for the orchestra to demonstrate...
Despite its eminence, one complaint might be made against the Vienna Philharmonic: it plays too little modern music, rarely even gets around to the works of such eminent Viennese as Arnold Schoenberg and Anton Webern. But the men of the Vienna Philharmonic know what they like. Says Concertmaster Willy Boskovsky: "Our dominion, with our sound, is Beethoven, Brahms, Bruckner and the classics; at this we are good. Perhaps American orchestras can play some of the newer music better...