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...Tonal Anguish. What the audience did notice was that there was nothing minor about Maag's conducting talent. He has all the requirements for a superior conductor of Haydn and Mozart -a faultless sense of classical proportion and a keen ear for blended Mozartean sonority that allows important detail to come through crisply...

Author: /time Magazine | Title: Conductors: Aimez-Vous E-Flat? | 9/6/1968 | See Source »

...never so hurried that he loses the grace of an adagio and never so relaxed that he loses the punch of an allegro. He has a gifted sense of measure but, happily, never seems to be measuring. To hear him bring out the bittersweet tonal anguish lurking in the Symphony No. 39 was to realize for once just how much romantic sentiment really filled the classical little heart of Mozart...

Author: /time Magazine | Title: Conductors: Aimez-Vous E-Flat? | 9/6/1968 | See Source »

Logical Extremes. Born of a solid landowner family in 1883, Webern was trained as a musicologist at the University of Vienna. In 1904, while still a student, he met Arnold Schoenberg and became his lifelong friend and disciple in the cause of overthrowing tonal music. In many areas Webern took Schoenberg's innovations and carried them to logical extremes. When Schoenberg dissolved traditional tonality but continued to work with late Romantic forms, Webern dissolved those too. He obliterated vertical harmonies, broke up melodies into one-or two-note fragments for each instrument and swept away all sense of development...

Author: /time Magazine | Title: Composers: Pianissimo Prophet | 8/16/1968 | See Source »

...Korte, and played them with an ease and elegance rare among American chamber- music makers. Where most native groups feature a sharp-edged attack that glitters most brightly m contemporary music, the Beaux-Arts glides throughout the reper tory with a silken, unruffled sheen and a cozy, old-world tonal blend...

Author: /time Magazine | Title: Chamber Music: Living & Making a Living | 4/12/1968 | See Source »

...high level of quality throughout. The piece's major fault is that it lacks any logic to carry the listener through. The serial composition is by the composer's own admission, a musical almanac "going from Beethoven to Schoenberg in five minutes." Harmonically it shows a startling resourcefulness, both tonal and non-tonal. Particularly amusing was the recurrence of a particularly slushy theme, either because of the humorous contrast with Pousseur's art, or perhaps due to its explicit banality in the Pousseur context...

Author: By Stephen L. Weinberg, | Title: Henri Pousseur | 3/2/1968 | See Source »

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