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Dimitri Mitropoulos, the strong-minded conductor of the New York Philharmonic-Symphony, has become the hero of Manhattan's modernists and the bane of its musical conservatives. In four years, he has introduced new symphonic works by such radicals as Schoenberg, Schnabel and Sessions, and such theater works (in concert form) as Busoni's Arlecchino and Berg's Wozzeck. Last week he was at it again: he conducted the first U.S. performance of Darius Milhaud's opera Christopher Columbus...

Author: /time Magazine | Title: Music: Columbus Sails Again | 11/17/1952 | See Source »

...Arnold Schoenberg's mordant Six Little Piano Pieces provided fascinating atonal excursions. And Lewin played them authoritatively, with a light touch that was so noticeably absent in the first selection...

Author: By Lawrence R. Casler, | Title: David Lewin | 10/8/1952 | See Source »

Uphill Fight. I.S.C.M. did that, and more. In its annual festivals, it helped spread the news (and the international reputations) of such men as Twelve-Ton-ists Arnold Schoenberg, Anton von Webern and Alban Berg, France's Darius Milbaud and Olivier Messiaen, Italy's Luigi Dallapiccola, the U.S.'s Roger Sessions and Aaron Copland...

Author: /time Magazine | Title: Music: Aging Modernists | 7/14/1952 | See Source »

Conductor Dimitri Mitropoulos takes a special pride in performing new music-and old music that is still new to the U.S. Last fall he gave the U.S. its first performance of Atonalist Arnold Schoenberg's 1909 "monodrama," Erwartung (Expectation), and his Manhattan audience seemed to find it considerably less noisy and strident than expected. Columbia Records stepped in quickly, got Mitropoulos, his New York Philharmonic-Symphony and Soprano Dorothy Dow to record it. Erwartung's one-act story is somber, not to say macabre: a woman sings her innermost thoughts as she goes to a woodland tryst, stumbles...

Author: /time Magazine | Title: Music: New Records, Jun. 30, 1952 | 6/30/1952 | See Source »

...life of teaching and composing. A visit to Paris shook him out of his native conservatism: he experimented with radical rhythmical structures, later with the twelve-tone technique, but absorbed only what he wanted from them and went his own way. His musical language now reflects both Schoenberg and Debussy, but its message is personal. The Violin Concerto conveys a sense of warmth and tragedy; his oratorio Golgotha expresses his profound religious feeling ; his Petite Symphonie Concertante has some of the pastoral air that the composer has breathed on hikes about Switzerland...

Author: /time Magazine | Title: Music: Composer's Corner | 5/26/1952 | See Source »

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