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PIZZICATO BRENTWOOD SERIES
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Thinking of other great composers of history, I compared their surroundings –īleak, cold garrets, vacuums of silence – with this present setting of joy, warmth and sunlight.

PIZZICATO BRENTWOOD WINDOWS

His great driving force, this “enormous vitality” – to quote many a biographer – was ever-present in this observation.Īs I collected my thoughts, I looked at the gentle, sensitive face of the great musician, subtly caught by a sculptor in the bronze bust placed on the harmonium set between the french windows, and my fear passed abruptly as the “Usual” California sunlight streamed in the windows and the breeze from the Pacific Ocean about a mile away carried with it the laughter of the children outside. All of his work must be greatly magnified for legibility on the part of its composer. Schoenberg had obtained from the local butcher.

This manuscript was suspended from an easel, placed against the concert grand piano, painstakingly written with marked crayon, upon lines drawn about half an inch apart upon sheets of white wrapping-paper, which Mrs. Koldofsky checking parts of his newly composed String Trio, opus 45, with the original score. I was glad for a brief respite, for it would enable me to collect my faculties and still my fears.

PIZZICATO BRENTWOOD SERIES

Schoenberg asked if he might continue his discussion of the correction of copy with Adolph Koldofsky, violinist, who is participating in an all-Schoenberg program, one of the “Evenings on the Roof” series of concerts of modern music, to be held at the Wilshire Ebell Theatre in Los Angeles on May 10. He “introduced” me to lovely, blue-eyed Nuria, the graceful sixteen year old Schoenberg daughter, who was home from school for the weekend and who graciously ushered me into the spacious Spanish living room. My escort to the door was “Champagne” – “Hic” for short, a nine-week old cocker spaniel puppy with red ears. Schoenberg from the letters of the father’s first name, and alert young seven-year old Larry. Schoenberg was demonstrating sharp-shooting to her young sons, ten-year-old Ronnie, whose name “Ronald” was created by Mrs. With a sense of great insecurity, I approached the Schoenberg home in Brentwood, parked under a live oak tree on the side of a hill and walked around the circular driveway up to the doorway.

PIZZICATO BRENTWOOD PRO

In preparation for this interview, I had gone to the library, read Slonimsky, Saminsky, and Virgil Thomson, in addition to a background of music history, but thought that I’d be safe in completely leaving out of my interview any mention of the “twelvetone scale,” although as an officer-member of Pro Musica, I had heard many of the Schoenberg compositions played by chamber music groups, and am greatly interested in the influence of Schoenberg on the music of present-day composers, many of whom are right here in Hollywood. Schoenberg was so pleasant, that I should like to present it with the slant that “the great are approachable,” although perhaps I should have liked to have found in Shakespeare’s words something like his “Some are born great, some achieve greatness, and some have greatness thrust upon them.” I then felt as if I were really trespassing on territory which might be forbidden to one of the uninitiated – to one who has scarcely progressed passed tonic and dominant harmonies. Later in the day the mail arrived, bringing with it Dika Newlin’s erudite article on “Schoenberg’s Variations on a Recitative for Organ, Opus 40” in the February issue of PAN PIPES. I spent this morning searching through Bartletts’ Familiar Quotations in an attempt to find the appropriate quotation from either the Bible or Shakespeare, by which this interview with Arnold Schoenberg might achieve an air of dignity and a learned touch.

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