Word: schoenberg
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...Into the Woods” is necessarily an ensemble effort and, impressively, there is not a single weak link in this production. Samuel R. Schoenberg ’13 and Christine K. L. Bendorf ’10 are paired well as the Baker and his Wife, and the subtle evolution of their relationship over the course of the play forms a solid center for the many intertwining stories. A Sondheim veteran, Bendorf (who also acted as Johanna in 2008’s Mainstage production of Sondheim’s “Sweeney Todd”) creates a character...
...world. Though far removed from the romantic lyricism of Chopin’s Piano Concerto No.1, Music for Orchestra II was distinguished in its own right. The fiery piece united the strength of brass, percussion, and the raw chords of the strings, echoing the music of Stravinsky and Schoenberg. The piece was a worthy tribute to Kirchner, who Cortese said was “an extraordinary musician, filled with energy, enthusiasm, and a sense of humor and irony...
...York City, Kirchner composed the orchestral version of “The Forbidden” as the third part of his triptych of the same name, which includes a piano sonata written in 2003 and a string quartet from 2006. Kirchner, who studied with both Ernest Bloch and Arnold Schoenberg, describes this piece as a mixture of past compositional techniques with contemporary twelve-tone techniques. Although “The Forbidden” was originally commissioned for 2006, the work was pushed back to this year, and as James Levine pointed out in his program notes, the piece was well...
...airlift of 1948, endeared a generation of Berliners to the U.S. When Kennedy arrived in Berlin in 1962, the city was gripped by something approaching mass hysteria; Kennedy later confided that had he called on the throng - an estimated 750,000 witnessed his "Ich bin ein Berliner" speech at Schoenberg City Hall - to tear down the Wall, they would have done...
...which changed shape and became different schools of thought, and which were never used again. Suddenly, sentences like, “[Alban Berg’s Three Pieces for Orchestra] are fully symphonic in conception, Schoenbergian in content but Mahlerian in form” make total sense, as Berg, Schoenberg, and Mahler are all three simply components of Ross’s master architectural scheme, to be manipulated at will.Not surprisingly, to the extent that there is a fundamental narrative, it is the story of high art, low art, and where they separated. The blessing and the curse of Ross?...