Word: webernism
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...seven winds and string bass--all of which were first rate. There is some use of klangfarbenmelodie, the production of a melodic line with varied tone colors, but only with the instruments, not the chorus. The piece owes something to very late Stravinsky, though, and not to Schoenberg or Webern...
Larousse Encyclopedia of Music. Edited by Geoffrey Hindley. 576 pages. World. $19.95. A potpourri of minstrels and melody that manages to make the songs of old Provence seem as delectable as poulet a la proven∧ale. So too with musical greats from Palestrina and Purcell to Wagner and Webern, in a handsome treatise that is informed and comfortably free of jargon. This is primarily history, not a quick alphabetical reference aid (readers wanting that should try the Oxford Companion to Music). The knowing may regret the cursory treatment of American music and wonder, say, why Stravinsky and Berlioz...
...free to rise at 5 each morning to compose, and he often holds work meetings in his apartment at 8, thereafter running through as many as three rehearsals during the day. Boulez's mastery of conducting the modern repertory-from Debussy and Stravinsky to Webern and Olivier Messiaen-is untouchable. Next week he will start taking small groups of instrumentalists to Greenwich Village to proselytize among the hip young (TIME, Feb. 22). He also intends to devote two series of programs to the music of Liszt and Berg, both of whom he feels are essential to the understanding...
...enlists a soprano soloist and a full orchestra, runs 60 minutes, and is easily Boulez's most ambitious composition to date, outstripping even his 1955 Le Marteait sans Maitre. Severely serial, the work begins with a crash and a delicate wash of impressionism, a mixture of Debussy and Webern. Much of it glitters with the percussive polka-dotting of pointillism; all of it is abstract, moving in tiers of timbres, skeletal in its economy. Like Stravinsky, Boulez treats the human voice instrumentally rather than vocally. Soprano Halina Lukomska copes expertly, though not easily, with a vocal line that soars...
After the Webern, Foss performed his Echoi for four instruments, assisted by Tsutsumi, percussionist Jan Williams, and clarinetist Edward Yadzinski. The title of the work tells its story. Echoi is Greek for "echoes," and, as Foss explains in his notes to the recorded version of the work, is also a name for some ancient Arabian modes. The piece is in four parts, somewhat loosely-structured, and is partly aleatory-at a random signal from the percussionist, the performers jump back to an earlier section of the work and replay it, in order to destroy whatever structure may have been created...