Word: trios
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Dates: during 1960-1969
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...unexpected development of sophomore talent has been largely responsible for putting the varsity where it has never been before. Tom Gilmore, at 123 pounds along with Ben Brooks, and John Hoffman in heavier divisions are all second year men. The trio produced crucial points in the Crimson wins over Brown, Penn, Columbia and Princeton...
...program which Adams House presented on Wednesday night seemed at the start totally miscellaneous. The Beethoven Violin Sonata, Op.96, opened it, the Schoenberg String Trio, Op. 45 followed, and the second half plunged into the electronic music of Cage, Mache and Schaeffer. But all the pieces closely complemented each other, for the modern works were all intent upon evoking a sense of enigmatic direction, of thoughtful uncertainty, and the Beethoven at least approached them by using an unusual formal scheme. Listening to all this raised the important question of what should determine taste within so free a style...
Schoenberg abandoned classical forms for his Trio. Although he divided the work into three meetings, these movements (perhaps better called "episodes") do not fit the conventional categories of movements. The work does not, as do classical forms, progress through several distinct, encased areas; it rather distributes its contrasting moods throughout the piece and makes quick changes between with neither obvious or formal transitions. It is the probing nature of the music which constitutes its development: it stops and starts, moves in one direction only to shift toward another, never leaving the bounds of what it marks...
...done is to integrate musical emotions which in much music are usually separated or opposed to each other. Most important of all, he has linked pensive, "introspective" musical expression with a variety of other moods--violence, passivity, melancholy--and has thereby diffused the thoughtful tone throughout the music. The trio is profound because its expression is indirect, submerged; the work gives the listener its ideas not by pointing them out to him, but by shuffling him about through a variety of situations whose sum is the work's expression...
...particular overlapping of the tapes gives the noises a consistent texture and rhythm and its addition of Cage's soprano Aria above them puts the sound to a real artistic purpose, making their strange noises and enigmatic direction seem perfectly chosen for the piece. As in the Schoenberg Trio, unusual sonorities appear out of nowhere, yet seem very much in place...