Tone Depth
The composer who should be loved instead of feared.
For too long, Schoenberg has been held hostage by a small coterie of scholarly admirers. Their technical exegeses—their charts and schemata—have not served the composer well. He wrote music to be listened to, not analyzed. If we can manage to shake off their influence and simply hear what he has to say, Schoenberg might finally begin to enjoy the affection he deserves and always claimed to covet.
Oxford Town, Red Hook, and Every Other Place Bob Dylan’s Ever Sung About, Mapped
This Is a Blog Post. It Is Not a “Blog.”
Teenagers Hate Facebook, but They're Not Logging Off
Erik Tarloff is the author of Face-Time and The Man Who Wrote the Book and is a member of Slate's book-reviewing team.
Excerpts from: "Verklärte Nacht," performed by the Ensemble InterContemporain, © 1985 CBS; "Kammersymphonie," performed by the Weiner Concert-Verein, © 1990 ORFEO International Music GmbH; "Second String Quartet," performed by the Lasalle Quartet, © 1971 Deutsche Grammophon; "Five Pieces for Orchestra, performed by the Berliner Philharmoniker, © 1987 Polydor International GmbH; "Pierrot Lunaire," performed by the Ensemble InterContemporain with Christien Schäfer, ©1998 Deutsche Grammophon; "Suite for Piano," performed by Maurizio Pollini, © 1988 Dr. Paolo Pelazzi; "Concert for Piano and Orchestra," performed by the London Symphony Orchestra, © 1986 Editions Costallat. All rights reserved.To the 500-plus Slate readers who entered "The Book Club" contest: We're reading as fast as we can. Results soon, we promise, and thanks for being patient.