IN GURRELIEDER, VERKLÄRTE NACHT, AND PELLÉAS ET MÉLISANDESchoenberg showed total mastery of tonality and of late romantic harmony, and these great works entered the repertoire. But by the time of the Piano Pieces op.
11 Schoenberg was writing music which to many people no longer made sense, with melodic lines that began and ended nowhere, and harmonies that seemed to bear no relation to the principal voice. At the same time it was clear that Schoenberg’s atonal pieces were meticulously composed, according to schemes that involved the intricate relation of phrases and thematic ideas, and this was another reason for taking them seriously.
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