The three works presented here reveal distinctly different phases of Arnold Schoenberg's development, each a critical point of departure. In the Pieces (5) for Orchestra (1909), Schoenberg's atonal language appears full-blown and marks a clear break with tonality. For the first time, Schoenberg places content over form and dispenses with any ...
If one characteristic stands out in the contemporary works of Pierre Boulez, it is the remarkable depths of sonority he achieves through methods of multiplication and elaboration. In their unique ways, the three pieces on this Deutsche Grammophon release are intensely wrought complexes of layered timbres, reiterated attacks, and mirrored motifs, ...
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