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☆ David Del Tredici, Who Set ‘Alice’ to Music, Dies at 86
▼ + stars: | 2023-11-18 | by ( Allan Kozinn | ) www.nytimes.com time to read: +2 min

David began his piano studies when he was 11 and was 16 when he gave his first public performance, in San Francisco in 1954. By the time he was 18, he had won a handful of scholarships and awards, including the $5,000 John E. Kimber Prize, in 1955, which covered his piano studies for several years. “He yelled at me and was very severe, and I didn’t realize, coming from California, that all he really was, was a New Yorker,” Mr. Del Tredici told American Public Media in 2002. Mr. Milhaud was encouraging, and when Mr. Del Tredici returned to Berkeley, he enrolled in a composition class taught by Seymour Shifrin. He later pointed out that he had never been composer of 12-tone music, the radical departure from traditional tonality pioneered by Arnold Schoenberg.

Persons: David, John E, Kimber, Leonard Shure, ” Mr, Del Tredici, “, ‘, ”, Darius Milhaud, Milhaud, Seymour Shifrin, La Monte Young, Terry Riley, Pauline Oliveros, Earl Kim, Roger Sessions, Arnold Schoenberg Organizations: University of California, Aspen Music Festival, School, New Yorker, American Public Media, La, Princeton University, Times Locations: San Francisco, Berkeley, California, New, La Monte

☆ How Classical Composers Made Music After the Holocaust
▼ + stars: | 2023-09-02 | by ( Kira Thurman | ) www.nytimes.com time to read: +2 min

Perhaps she’d learned them in the early days after the war, when she’d performed with Holocaust survivors at a hospital in 1945. Jansen does not appear in Jeremy Eichler’s new book, “Time’s Echo,” but the impulse to turn to music during and after the Holocaust is at the heart of it. Eichler, The Boston Globe’s chief classical music critic, suggests that music can help us remember what we’ve lost. “Time’s Echo” is an engrossing recovery project that reveals the depths of Europe’s ability — and inability — to mourn those losses. Not only do we remember music but, just as importantly, “music also remembers us,” Eichler argues.

Persons: Jeremy Eichler, Fasia Jansen, Brecht, she’d, Jansen, Jeremy Eichler’s, Eichler, we’ve, —, Richard Strauss’s “, ” Arnold Schoenberg’s “, ” Benjamin Britten’s “, ”, Dmitri Shostakovich’s “ Babi Yar, ” Eichler, “, ” Schoenberg Organizations: The Boston, Central Locations: German, Hamburg, Neuengamme, Warsaw, Europe

☆ Make It New and Difficult: The Music of Arnold Schoenberg
▼ + stars: | 2023-07-28 | by ( John Adams | ) www.nytimes.com time to read: +2 min

SCHOENBERG: Why He Matters, by Harvey SachsIn 1955 Henry Pleasants, a critic of both popular and classical music, issued a cranky screed of a book, “The Agony of Modern Music,” which opened with the implacable verdict that “serious music is a dead art.” Pleasants’s thesis was that the traditional forms of classical music — opera, oratorio, orchestral and chamber music, all constructions of a bygone era — no longer related to the experience of our modern lives. Composers had lost touch with the currents of popular taste, and popular music, with its vitality and its connection to the spirit of the times, had dethroned the classics. One could still love classical music, but only with the awareness that it was a relic of the past and in no way representative of our contemporary experience. While Pleasants’s signaling the ascendance of popular music was right, much of the rest of “The Agony of Modern Music” was fallacious, not least its way of according value to a work of art based on the size of its audience. And for a large part of its public, no composer is more emblematic of that persistent feeling of alienation between composer and listener than Arnold Schoenberg.

Persons: SCHOENBERG, Harvey Sachs, Henry Pleasants, ”, Composers, Beethoven, Verdi, Wagner, Tchaikovsky, Arnold Schoenberg, “ Schoenberg, ” Sachs, Toscanini, Sachs, Schoenberg, — Locations: obscurantism

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