Composer Arnold Schoenberg's Austrian auto-love, music theorist, educator, writer and liberator writer and liberator are a lot of things, but cute is not one of them. Composer Toder told Toder Worker, Schoenberg Schoenberg of Hollywood May 18-22 at the University of California, Los Angeles at the Nimoy Theatre in Los Angeles.
In 1933, Hitler was appointed Prime Minister, and the Nazis revoked Schönberg's professor at the Berlin Academy of Arts, and he and his family moved to Los Angeles. He bought a long-established Spanish home in Brentwood near UCLA (cross the street across the street from Shirley Temple), where he joined the faculty.
A few years ago, he was in Vienna, and shared admiration with composers such as Gustav Mahler and Richard Strauss, who helped him throughout his career. Later, he calculated the characters among his students, including Anton Webern and Alban Berg. His revolutionary twelve-color technology painted a new path for twentieth-century music, so when he landed in Hollywood, he was already famous all over the world… went bankrupt.
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The lyrics of Karole Armitage director Simon Robson combine the impressions of the era, including Humphrey Bogart, Superman, Groucho Marx and his brother Harpo, who introduced Schoenberg to MGM producer Irving Thalberg. He was offered a score movie, Good Earthbased on Pearl S. Buck's Pulitzer Prize-winning novel. Schoenberg outlines some material and then proposes an astronomical tuition fee, except for some way requiring characters to talk in the movie. Salberg threw him out.
“He's that kind of person,” Armitage said. “His first wife did suffer. He had such faith in vision; no regulation. He was right, no one else could intervene, even his wife. They were desperately poor, and she wanted him to give in a little. He couldn't do it.
Armitage was known as Punk Ballerina at a young age, danced in the early years of George Balanchine and Merce Cunningham, and worked with artists Jeff Koons and David Salle to fall in love with her. She is a work of the American Ballet Theatre, Paris Opela Ballet and Paris Ballet, and she is a regular collaborator of the American TV Theatre in Boston, which revived in 2008 hair She later received a Tony nomination.
and Schoenberg of Hollywoodshe brought her genre's 2018 stage to Nimoy near UCLA. Happily, she reunited with baritone Omar Ebrahim, who produced the original work with her at the Boston Opera.
“He is spectacular,” she said of modern opera veteran Ebrahim. “Not only is his singing and acting incredible, but his movements are also very beautiful. I love working with him. I'm so glad he's back.”
The production in Los Angeles offers many advantages, just a few miles from the activities of the opera. But this also presents a series of challenges. Nimoy was once the historic Crest Theatre, a movie house before 1940. Therefore, it has no background or pitfalls.
Armitage sighed. “Armitage sighed.” “There is no outlet, so it's very difficult to do a costume change. We'll have all the comedy feels, the depth of emotion and the sense of traveling due to history, all of which will be captured, but we have to do it differently.”
Schoenberg was one of many German artist expats who went to Los Angeles at the time, including Fritz Lang, Marlene Dietrich, Bertolt Brecht and Thomas Mann. They often gather and talk about news from Europe, providing each other with a community thousands of miles from their homes.
Competitive composer Igor Stravinsky immigrated in 1939. “A businessman at Stravinsky was smart enough to get out the music, just as Schoenberg was unmoved by his own music,” Machover said with a smile. “Schoenberg felt that Stravinsky was an opportunist and changed his style to become popular. It's not true, but I think he thinks it's so. I think Stravinsky thinks Schoenberg is too complicated, the pain on his neck. So, I think it's a personal thing.”
George Gershwin, on the other hand, is a respected person by the composer and often plays tennis. “Gershwin wrote music that everyone loves, and Schoenberg knew the value of that,” Machover noted.
Schoenberg's erotic discord is reflected in the dark, lush fractions of Machover, sometimes referenced to the composer VerklärteNacht Or his groundbreaking opera of 1932 Moses and Aaron. Machover's music was written for chamber bands and electronics, appropriately taking advantage of the pop culture of that era, such as when Schoenbergs settled in the West and musical quotations Traces of happiness.
Originally from Mount Vernon, New York, Machover studied undergraduate students and Post University under Juilliard under the leadership of modernist master Elliott Carter. In 1985, he joined the MIT Media Lab faculty and became a professor of music and media and director of experimental media facilities, and sometimes worked with his former Opera House researcher and director Armitage, Death and Power.
Like Schoenberg, Machover is working at the cutting edge of his art form in technology and aesthetics. Like Schoenberg, he found that the taste of his music was a kind of music he gained.
“When I was a teenager, I really hoped that everyone would get what I was doing right away,” he said. “I was so surprised when a lot of people didn't. So, I had that kind of experience, too – actually, I hope right now. Like any composer, I have my own language.”
Schoenberg suffers from Triskaidekaphaphobia or fears the fear of No. 13, and death has bothered him in any year. In 1950 (not a multiple), on his 76th birthday, an astrologer wrote him a note warning that 7 + 6 = 13. He died within a year and succumbed to Friday, July 13, 1951, on Friday, July 13, 1951.
“He was absolutely paranoid, feeling persecuted. And most people didn't like him very much, so he had the right to be him,” Machover Marchover. “I think he is an admirable person and has a real moral sense. He is usually very decent to people.”
