[Anne-Maree Kate ENGLUND 9104791 <e9104791@goblet.anu.edu.au>: 12 Tone & Brahms]

[Mary Jo Watts <mwatts@rci.rutgers.edu>]

With permission from the author, I present...

-MJ
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Date: Mon, 15 Jul 1996 13:44:48 +1000 (EST)
From: Anne-Maree Kate ENGLUND 9104791 <e9104791@goblet.anu.edu.au>
Message-Id: <199607150344.NAA03460@goblet.anu.edu.au>
To: mwatts@rci.rutgers.edu
Subject: 12 Tone & Brahms
X-Sun-Charset: US-ASCII

In message <CMM-RU.1.5.836807830.mwatts@niflheim.rutgers.edu>, Mary Jo
Watts <mwatts@rci.rutgers.edu> writes
>I wonder if I could take a little poll about how many list members are
>interested in atonal, or 12 tone music, and what draws you to it (if
>you are!)  Also, what is your reaction to GG's performances of
>Schoenberg, Berg, et al?

I love Schoenberg, Berg and Webern in all mediums, periods and manifestiations,
(Lulu is one of the few operas that I genuinely enjoy)
but I must say that I have found one of the most enriching aspects of
Schoenberg to be his attitude towards Brahms, elucidated in his famous
essay ``Brahms the Progressive''.

I had never really taken Brahms quite seriously before I read that essay, 
but listening out for what Schoenberg calls Brahms' technique of 
``developing variation'', manifest particularly in the chamber music, 
has quite fascinated me.  Schoenberg's own orchestration of the G minor 
piano quartet is an interesting study in obviating the need for a piano.  
Also of interest is GG's recording of the F minor piano quintet.  

>If you do have an interest in atonal music-- what brought you to it--
>music training? a certain piece caught your attention?
>

I think Schoenberg's 2nd string quartet was the first piece of 12 tone that 
grabbed me on a purely sensual level.  Reading Theodor Adorno's ``Philosophy 
of Modern Music'' helped to develop my critical appreciation.