Malcolm MacDonald (2) (1948–2014)
Författare till Brahms
För andra författare vid namn Malcolm MacDonald, se särskiljningssidan.
Om författaren
Malcolm MacDonald is the editor of Tempo magazine and author of Schoenberg. He lives in London.
Verk av Malcolm MacDonald
Associerade verk
Havergal Brian on Music: Volume One: British Music: British Music Vol 1 (Musicians on Music) (1986) — Redaktör — 5 exemplar
BBC Proms 2019 : Prom 34 : West–Eastern Divan Orchestra [programme] (2019) — Programme note — 1 exemplar
Taggad
Allmänna fakta
- Vedertaget namn
- MacDonald, Malcolm
- Namn enligt folkbokföringen
- MacDonald, Malcolm Calum
- Andra namn
- MacDonald, Calum (pseudonym)
- Födelsedag
- 1948-02-26
- Avled
- 2014-05-27
- Kön
- male
- Nationalitet
- UK
- Födelseort
- Nairn, Scotland, UK
- Dödsort
- Leckhampton, Gloucestershire, England, UK
- Yrken
- music critic
composer
Medlemmar
Recensioner
Du skulle kanske också gilla
Associerade författare
Statistik
- Verk
- 11
- Även av
- 4
- Medlemmar
- 136
- Popularitet
- #149,926
- Betyg
- 4.0
- Recensioner
- 2
- ISBN
- 182
- Språk
- 4
"Between numbers little groups of disputants came within an inch of blows; one of the composers shouted remarks and entered into the row; the conductor went on strike; an official boxed the ears of a man who had publicly assaulted him; the police commissioner ordered the hall cleared, and the concert was stopped before the final number".
Schoenberg was repeatedly validated as an important musical figure by the musical establishment of his day. His book Theory of Harmony [Harmonielehre] ( 1911) deflated the arguments of those who saw him as an ignorant eccentric; in 1925, his appointment as teacher of the master class in composition at the Prussian Academy of the Arts in Berlin awarded him one of the most prestigious teaching positions in Europe; up until his departure from Europe in 1933, his works were published soon after their composition and premiered by major ensembles in important venues; and, following his exodus from Europe, he found employment in the American university system. Similarly, his twelve-tone method and its offspring dominated establishment music for many years after his death.
So, what was all the fuss about and why, nearly fifty years after Schoenberg's death, does it still continue? Most of the controversies concerning Schoenberg revolved initially around the sound of his music; eventually it was not only the sound but how he justified and explained it historically, theoretically, and aesthetically that sustained the controversy. (His method of organizing pitch in his later works, the twelve-tone method, was a special point of contention.) The sound of Schoenberg's first mature works was striking in its time because Schoenberg tended to emphasize the most innovative aspects of turn-of-the century musical style: chromaticism, rhythmic freedom, intensity of expression, and motivic unity. Taken together, these elements produce an admittedly complex musical style, but it was this style that Schoenberg preferred and he made no excuse for it. Brahms's progressiveness "should have stimulated composers to write music for adults," wrote Schoenberg in the essay "Brahms the Progressive."… (mer)