Russel Berg <[log in to unmask]> wrote:

>Why is Schoenberg an important composer?

Schoenberg follows the Wagner-line, and I think the density of articulation
and that much is always happening in these two composer's music, makes them
an excellent starting point for own composition.

There is also another reason to take interest in Schoenberg, and a more
important; That is the problem his music raises which could be formulated
like this: Which principles of articulation are adequate in the tonal
chromatism? Or with other words: Is it possible with remained harmonic
density to reach other ways of articulation than the so far existing?
Schoenberg has solved the problem in very different ways, the different
ways can be found in different works, with the Pianosuite op.25 and the
Orchesterstueck op.16:3 as extremes.  However Schoenberg didn't do
everythinhg after all, what means the problem remains, and one has
no help of any serial technique either, but I think that depends on a
misunderstanding; the fact that the 12tone seria is *noted* horizontially,
and that causes the conclusion that its meaning is horizontial (=serial).
Really, the function of the 12tone seria should be only of
harmonycontrolling art, mainly to always look for that (relatively)
unused tones are ready to be used.

Schoenberg's solvations are always interesting, although there are of
course others who also has contributed with interesting hot stuff - like
Gunnar Bucht with his "inplayable" 6th Symphony.

James Zehm
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