Word: webern
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Dates: during 1960-1969
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HOLLAND FESTIVAL (June 15-July 9) takes place in four Dutch cities. Its imaginative programming includes four concerts devoted entirely to works of Berg, Schoenberg and Webern, played by The Hague Residentie Orchestra under Pierre Boulez in Scheveningen; three Debussy cycles in Amsterdam, Rotterdam and The Hague. More conventional fare by the Concertgebouw Orchestra; dance and opera (from Rameau's Platée to Schoenberg's Moses and Aaron) is also offered...
...that conductors, soloists and the public have only the kindest of words for him. He is not afraid of melo dy or tonality, and he has the courage to write in the familiar mainstream tra dition of Bartok and Prokofiev-the titters of twelve-tone, modified twelve-tone, post-Webern and electronic cliques notwithstanding. That is not to say he is old hat. Within the bounds of con ventional forms like the symphony, sonata, string quartet and concerto, Lees manages to be fascinatingly original and thoroughly contemporary...
...French Composer Pierre Boulez, 42, has the punctilious Gallic virtues: rhythmic deftness, a feeling for nuance, pointillistic detail. In compositions from Debussy through Anton Webern to Boulez, few conductors can equal his idiomatic mastery of bristling complexity and tangy dissonance. He probably never will build a repertory of the standard war horses; as a freelance conductor, he remains a self-confessed dilettante who works "entirely for pleasure...
...intense way and to tell the musicians a great deal about how he wants it played." Says the Israel Philharmonic's chief concertmaster, Zvi Haftel: "He is more than just a gifted conductor. To change from Bruckner, which he conducts like a saint or an Indian priest, to Webern and then to Stravinsky with a burning fire and conviction-and transmit it to the orchestra-that is genius...
Squawking Steinway. Columbia's package concentrates chiefly on the broad spectrum of experimentation, most of it stemming from Webern's later pointillistic serialism and further shaped by the development of electronic sound producing and reproducing equipment. John Cage's Variations II required Pianist David Tudor to clip microphones at various points on his Steinway and to overtune them so that the amplifier-produced squawl and squawk become part of the composition; in Mikrophonie I. Karlheinz Stockhausen attached two microphones to an oversized gong, which was then hit with a variety of materials to produce a 26-minute...