In those days, perhaps, definitions seemed necessary but the time had also come to accept the new era in its many manifestations. He takes on the definition of modern music- by suggesting what it isn’t. This volume opens with a short article written in 1926, when he had barely mastered English. He was interested in the modern seemingly from the moment of expulsion from his pre-Revolutionary cultural cocoon and continued to be so for the following 80 years-during which, of course, the definition of modern evolved and twisted and morphed and turned inside out, and even reverted to “classical.” Why did he choose to be a proponent of the modern? Surely it had to do with his intellectual curiosity, impatience with repetition, and rebellious spirit, but further psychologizing is pointless. His rich education in the theory and practice of music could also have suited him for composing or conducting, a purveyor of the classical tradition at its highest level. Piano was his instrument, taught by his formidable Aunt Isabelle Vengerova from childhood. He had everything to gain from the old musical regime: he was educated in it, he performed it brilliantly, and it was prevalent, offering the opportunity for a successful career. You would not expect a person of my father’s cultural heritage-steeped in the Russian musical tradition, trained in its premier conservatory-to be attracted to “modern” music. Conlon Nancarrow: Complicated Problem- Drastic Solution (1962)Ģ4. Howard Hanson: The “American Sibelius” (1944)Ģ0. Music for a Twentieth-Century Violinist (1974)ġ1. The New World of Dodecaphonic Music (1950)ġ0. The Status of the Latin American Composer (1942)Ħ. And on the musical horizon, not too far, The Schoenberg light shines blazingly, a do-de-cu-ple star! NS 1939 As the new century of tones pursues its course, The global 12-tone movement gathers greater force.
In Scandinavia, in Italy, in France (frons) It stirred the waves of music: tonal Renaissance. From California, where Schoenberg lives, this method spread around, Like some new form of radiant energy transmuted into sound. Not brain alone, but also heart and soul, In Arnold Schoenberg’s music play a role. (In fact, the opus numbers corresponded to the year Like symbols of the fruitful years in Schoenberg’s rich career.) And soon the 12-tone speech, intuitive and young, Evolved into a vital and organic tongue. And finally, the Serenade, in 1924, (Marked opus 24) revealed the 12-tone lore.
From (the) Verklarte Nacht to (the) Pierrot Lunaire, The style of Schoenberg bore a supra-tonal air. “Say, this stuff’s hep,” opined the younger side. “Excruciatingly cacophonous,” the old-guard critics cried. Though dissonant, the harmony was magically clear, Its intertwining chords a fillip to the ear. In being divisible by 2, 3, 4 and 6, The twelve-tone counterpoint yielded lots of tricks. When this inverted tune performed a backward run, There was still more dodecaphonic fun. Melodic intervals then pointed in an opposite direction, High notes becoming low, in mirror-like reflection. Then, by a deft maneuver of tergiversation, It rolled off in reverse, in true reciprocation. He made each individual tone a tonic, And music became do-dec-a-phonic The 12-tone melody, not bound to any key, Strode, in wide intervals, magnificently free.
Working away from abstruse atonality, Towards progressive artistic reality. The Schoenberg Idea People talk glibly of the 12-tone system “Take all twelve notes, shake them well, and then list ’em.” But Arnold Schoenberg, the originator, Called it a method: the system came later. Library of Congress Cataloging-in-Publication Data Slonimsky, Nicolas, 1894–1995 Nicolas Slonimsky : writings on music. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the author. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to All rights reserved. This edition published in the Taylor & Francis e-Library, 2005. Published in 2005 by Routledge 270 Madison Avenue New York, NY 10016 Published in Great Britain by Routledge 2 Park Square Milton Park, Abingdon Oxon OX14 4RN Copyright © 2005 by Electra Slonimsky Yourke Routledge is an imprint of the Taylor & Francis Group.