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Article Excerpt
Arnold Schoenberg's Journey. By Allen Shawn. New York: Farrar, Strauss, and Giroux, 2002. [xx, 340 p. ISBN 0-374-10590-1. $26.] Illustrations, bibliography, index.
In the early 1920s, after a ten-year period (1913-23) of compositional silence in which he devised a system of composing with twelve tones, Arnold Schoenberg claimed that his innovation would insure the dominance of German music for years to come. His misjudged remark, with its offensive chauvinistic tone, along with the truly shocking sound of much of the music that he produced, antagonized many listeners and started the reaction against Schoenberg's music that continues today. Consider the "Arts and Leisure" pages of the New York Times today, in which some critics still express their misgivings about serial music and readers sometimes rant against it, or the idea put forward in recent years (and refuted) that a sort of Mafia of twelve-tone composers controlled academic music departments in the 1960s and l970s, stifling the creativity of students who did not conform to their method. It is fair to say that many younger composers today who compose tonal music in the hope that it will be easily accessible to au diences are part of a backlash against earlier directions in composition that began with Schoenberg.
In Arnold Schoenberg's Journey Allen Shawn describes the unfair burden that...
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