How To Use Schoenberg In A Sentence
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Schoenberg got it right: serialism is the result of a neo-Classical impulse, not a Romantic one.
Naming of Parts
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Arnold Schoenberg is undoubtedly one of the most important western composers in the twentieth century.
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In Example 105 Schoenberg creates a beautifully delicate harmony, which seems to float along on a distant astral plane.
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In Example 105 Schoenberg creates a beautifully delicate harmony, which seems to float along on a distant astral plane.
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In time the best of Schoenberg will, of course, survive and time will discover the proper values.
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The documentary section is dominated by a complete translation of the 1912 Festschrift, the first discrete publication devoted to Schoenberg.
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In the early twentieth century, however, composers led by [Arnold] Schoenberg began to rally against the traditional conventions of music to produce compositions which lack tonal centres, known as atonal music.
The Atonal President
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Out of this dialectical imitation, this not wholly fictive dialogue, Schoenberg's twelve-tone sonata locates itself in the German tradition, which is made to anticipate and authorize his development of that tradition.
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Formative influences included a flamboyant teacher who assigned nonclassical pieces, as well as a galvanizing encounter with the music of Schoenberg and other modernists at Pomona College in California.
A Pianist Evolves With Her Instrument
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He also for a brief time came under the influence of Schoenberg and wrote serial music, all of which (if I remember right) he destroyed.
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In his recent tonometric studies Schoenberg noted that under manipulation the glaucomatous eye softened more slowly than the normal eye; and suggests this diminished drainage as an important evidence of glaucoma.
Glaucoma A Symposium Presented at a Meeting of the Chicago Ophthalmological Society, November 17, 1913
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As Schoenberg said, atonality is rejected not because it is ugly, but because it is misunderstood.
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The score anticipated Schoenberg's technique in Gurrelieder and Pierrot Lunaire, indicating the rises and falls of the voice with relative pitches.
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Touchingly, in his own lecture on the Variations, Schoenberg cites Brahms's F major Cello Sonata and Violin Concerto as pieces that were thought of as "indigestible" and
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That year saw the first Festival with Lord Harewood as director, and the featured composer was Schoenberg.
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By age 19, she had begun concertizing in Prague, performing the standard repertoire, as well as Schoenberg and Busoni.
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He had met Arnold Schoenberg, who became his teacher, in the fall of 1904, but they had not yet begun to work out the twelve-tone system.
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The exemplary works of artistic autonomy were, for Adorno, the ‘experimental’ works of modernism, especially the music of Arnold Schoenberg and in literature the antinovels of Samuel Beckett.
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The Schoenbergians and Webernistes didn't fit him all that well (his own twelve-tone music derived from Stravinsky and Copland).
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In the early twentieth century, however, composers led by Schoenberg began to rally against the traditional conventions of music to produce compositions which lack tonal centres, known as atonal music.
Telegraph.co.uk: news, business, sport, the Daily Telegraph newspaper, Sunday Telegraph
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Arnold Schoenberg becomes a jaunty little alphorn tune (complete with a suggested fingering, brought to you by the letter B):
Archive 2007-08-01
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Pollack cites this same NYT article, but he states that Gershwin "visited" Schoenberg on April 24, 1928 (the date of the signed photograph).
Someone to watch over me
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Even though there were people like Berio and Crumb, most of the teaching was slanted toward Schoenberg, and atonalism and serialism, etc.
Opera Today
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Most people know Georg Matthias Monn's concerto in the realization by Arnold Schoenberg (of all people).
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The atonalist members of the second Viennese school had appropriately ludicrous deaths: Arnold Schoenberg, who suffered from a morbid fear of the number 13, died on 13 July 1951; and Anton Webern was accidentally shot in post-war Austria, when GIs arriving to arrest his son-in-law saw him light a cigar and assumed it was a weapon.
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Although he was greatly influenced by his teacher's 12-note method he adopted a freer version of serialism, and some of his techniques deviate from Schoenberg's principles.
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Last night, Scottish Opera continued its ambitious double bill of 20th century musical drama, Bela Bartok's Duke Bluebeard's Castle and Arnold Schoenberg's challenging monodrama Erwartung.
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Schoenberg opened the flood gates of creative invention and, along the way, may have driven a schism between composers and their audiences.
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Werner Reinhart, who was on equally good terms with Stravinsky and Schoenberg (but bigotedly in the case of Schoenberg, as Mr. Taruskin's quotation exposes), may have been responsible, if inadvertently, since he seems to have gone back and forth between the composers.
'Jews and Geniuses': An Exchange
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The tragic irony here for an artist like Schoenberg was that the only way to realize art's concept, autonomy, meant that he had to indirectly affirm the system he was fleeing.
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It amply justifies my contention that for Stravinsky in the Twenties, the word "modernism" had become "a code for that specifically postromantic legacy of revolution and chaos exemplified in politics by the Bolsheviks, and in music by the expressionistic atonal works of Schoenberg.
'Jews and Geniuses': An Exchange
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Harnoncourt has it purring along from the start, plumping up a generous cushion of sound on which to float the equally impressive Arnold Schoenberg Choir, who luxuriate in Brahms's glorious vocal lines.
Brahms: German Requiem – review
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In this sense, can we say that the dismissal of Schoenberg et al had its roots in a sort of century-long "me, me, me, emotive"/composer-becoming-the-subject of historical inquiry -- where the "forward looking" or the "next new thing" was the prescient objective -- came to a violent collision with the unfamiliar, one which is unreconcilable with nostalgia?
Every night, they say, he sings the herd to sleep
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Schoenberg created twelve - tone music.
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His fondness for chromaticism was such that Schoenberg suspected he would soon join the ranks of the atonalists, but for Reger chromaticism was a means of expanding the resources of tonality, not a harbinger of its imminent collapse.
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Zeit Opern" – operas of the time – were a common feature of Germany in the 1920s, when Hindemith wrote a media comedy called Neues vom Tage (News of the Day), and even Schoenberg attempted a (very unfunny) comedy called Heute Oder Morgen (Today or Tomorrow).
I predict a riot
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The delightful Finnish soprano is the first of a distinguished group of vocal recitalists at Brian McMaster's final festival, performing songs by Mozart, Sibelius, Schoenberg and Britten.
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Not for a further 25 years did Dallapiccola summon up the courage to write to Schoenberg and explain how that evening had been a defining moment in his life.
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Schoenberg sought what he called ‘speech melody’ - something between declamation and song - and he devised a notation that indicated the rise and fall of the voice, as well as its rhythm.
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The Adagio section has some lush, fluorescent sounds, in which Schoenberg flirts with major tonalities and then destroys them.
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In formal structure, Mortal Thoughts blends two rich but infrequently employed musical traditions: the chamber operas of Benjamin Britten and his musical descendants (characterized by the use of small orchestral forces) and the experimental, edgy opera monodramas of composers like Schoenberg, (Erwartung, Die glückliche Hand) and Poulenc (La voix humaine).
Rodney Punt: The Mortal Thoughts of Lady Macbeth: A Chamber Opera of Horrors at Fais Do-Do
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The composer began as a Schoenberg disciple and produced a lovely piano concerto in the dodecaphonic style.
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The title of the series alludes to Schoenberg's precept; "re:sonance," so punctuated, implies both history and sound.
NYT > Home Page
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The psychocultural ground of Schoenberg's atonalism and its complex procedures was the disintegration of the Austro-Hungarian empire.
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The intended cycle was, like Schoenberg, for string sextet and using Richard Dehmel's poems.
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In fact, it reminds me very much of Schoenberg's freely atonal music of roughly twenty years previous.
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In this respect he forms the link between Wagner and Schoenberg, who was soon to complete the destruction of classical tonal harmony.
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At the same time he was rapidly developing his musical style on the basis of Schoenberg's serialism, the rhythmic methods of Stravinsky and Messiaen, and Webern's tightly integrated approach to composition.
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The search for patternless form persisted well beyond Schoenberg, of course, and may account for what the critic Henry Pleasants termed "the agony of modern music.
Hear It, Feel It
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Like Schoenberg, both composers were generally nonpracticing members of their religions (Bernstein a Jew and Stravinsky Russian Orthodox), and developed instead their own brands of spirituality.
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By age 19, she had begun concertizing in Prague, performing the standard repertoire, as well as Schoenberg and Busoni.
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Well, Schoenberg was the progenitor of what is called atonality, which meant simply that he abandoned most of the harmonies that had been in use for centuries and devised new harmonies of his own, which were sometimes quite frightening to hear and, in other cases, had a sort of a weird impressionistic beauty to them.
Beauty Amid the Discord: Music in the 20th Century
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He would experiment with Schoenberg-style atonalism before embracing tonal and populist elements (especially American jazz).
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Schoenberg never intended the 12-note technique to exclude possible tonal implications, and his use of hexachords is a close analogy to tonal practice.
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Webern makes the move to free atonality at roughly the same time Schoenberg does and with very much the same result: a long creative silence.
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The whole experience will feel a bit like taking a sweat-stained midsummer National Express coach journey with an entire battalion of elite concert violinists who somehow manage to perform an hour and a half of Schoenberg even while they're banging each other in the ear with their bowing arm.6 Lionel Messi will do something completely different.
Ten ways to satisfy your constant craving for El Clásico | Barney Ronay
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This process could not go on indefinitely, and in 1908 Schoenberg made the break into atonality, abandoning the attempt to fit atonal harmonies into tonal forms.
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The student has picked up a mannerism or trick, perhaps from a film or pop source, whose real origin is Schoenberg or Messiaen.
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It is accessible to any listener who can understand Barber's Adagio for Strings or Schoenberg's Verklärte Nacht.
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Schoenberg created twelve-tone music
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He promulgated the obliteration of all signs of tradition from compositions, even going so far as to denunciate Schoenberg and Stravinsky for elements of compromise in their later music.