Word: webernism
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Guest artist Victor Rosenbaum, one of the outstanding pianists of the younger generation, will perform the Mozart Sonata in E-Flat, K. 282; the Beethoven Sonata in E-Major, Op. 109; the Schubert Sonata in A-Minor, Op. 42; and the Webern Plane Variations...
...returned from their first explorations on Manhattan's 52nd Street, other musicians have been following the masters' trails. Their search is more for small refinements than grand departures, and cults of aficionados armed with phonograph records travel in their wake. Thelonious Monk's cult, whispering of Webern, insists that the silences in his music are even more profound than the sounds. Miles Davis' cult, transfixed by his trumpet, says nothing, preferring to express its worship in utter silence. But the cultists that follow John Lewis and his Modern Jazz Quartet see themselves as the True Believers...
...right. When the 55 youngsters of the Princeton (N.J.) High School Choir performed in West Berlin, audiences were indeed shocked, but they were also delighted. People who had turned up expecting to hear such staples as Surrey with the Fringe on Top, got a dose of Anton Webern-the complex Cantatas Nos. 1 and 2-plus a Buxtehude cantata and Bach's Magnificat. As it passed the mid-point of its month-long tour of Europe last week, the choir had collected a scrapbook full of glowing reviews. The fact that teenagers could sing music of such complexity, wrote...
...Pieces for Orchestra, written, incredibly, in 1909, reflect the expressionism Webern adopted from Schoenberg. They realize his credo, "Once stated, the theme expresses all it has to say; it must be followed by something fresh." At the same time, they embrace the musical principles of the Brahms from which Webern had just emerged (the Six Pieces are only Opus 6). That is, they develop a single, chromatic figure, through varying rhythms and intervals. Every successive point is fresh, but presents only the logical implications of what has preceded...
...original orchestration exults in a luscious palette of tone colors. But in 1928 Webern revised the score for a performance in Berlin. A personal tendency toward leaner writing, as well as the postwar decline in the size of orchestras, led him to reduce the number and variety of the brasses, woodwinds, and percussion...