Word: schonberger
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...student of famed Atonalist Arnold Schonberg, Eisler won Vienna's Academy of Music prize for composition in 1924. Among his U.S. film scores: The Woman on the Beach, Rain. He was exiled from Germany in 1933, is scheduled to testify about himself this week before the House Committee on Un-American Activities...
...elaborately scored as those of Hector Berlioz, but, unlike Berlioz, Sessions seldom repeats themes to give listeners something to cling to. The new symphony's unmuted brasses were as noisy as Shostakovich's, and some passages reminded hearers of the atonalist music of Hindemith and Schonberg. Sessions, however, believes that he is closer to Hungary's late, great Bela Bartok. And he hates to be called atonal: "I hear my music with the same kind of ear I use to listen to Beethoven...
Alban Berg: Concerto for Violin and Orchestra (Louis Krasner with the Cleveland Orchestra conducted by Artur Rodzinski; Columbia; six sides). Much of the music of Viennese Composer Berg, who died in 1935 (a disciple of Atonalist Arnold Schonberg), sounds like tortured, caterwauling doubletalk. But in this concerto, his atonalism is for once eloquent and heartfelt; it is Composer Berg's elegy on the death of his friend Manon Gropius, daughter of famed Architect Walter Gropius. The Clevelanders and Modernist Krasner give a stirring performance...
Marc Blitzstein is an earnest, nice-looking, pink-principled native of Philadelphia who was once a wonder-child at the piano, later studied composition under Nadia Boulanger and Arnold Schonberg. More than three years ago, Composer Blitzstein's opera about a steel strike, The Cradle Will Rock, was given a bleak but exciting Manhattan production, with the composer pounding a piano for lack of orchestral accompaniment. Last Sunday night, in Manhattan's Mecca Auditorium, another bleak Blitzstein opera had its opening, with the composer at the piano. No For An Answer, originally conceived as a $30,000 production...
Half a century ago, when frail, poetic Edward MacDowell was No. 1 U. S. composer, the models for high-brow music were Brahms, Grieg, Wagner. Just before World War I, Kulturbolschewiks Arnold Schonberg and Igor Stravinsky (TIME, March 11) led a revolution against musical romanticism. When the revolution was over, U. S. composers still found themselves writing European music. Such U. S. composers as Aaron Copland and John Alden Carpenter tried to go native by using jazz tunes, but only the tunes were American. The musical grammar and syn tax still sounded like Brahms or Stravinsky. Today there is still...