MUSIC CHRONICLE
themes, sections are simply juxtaposed rather than organically developed.
Although I doubt if anything really valuable can be achieved this way,
one must admit that Stravinsky's skill and lucidity (as far as what he
wants is concerned), constitute an assault against musical composition
as such, a radical questioning of traditional means. But this is not what
his disciples see. Unable to master the devices which musical schools
are no longer able to teach anyway (but on which Schonberg insists
with fanatic fidelity and faith), they look up to Stravinsky for his eva–
sions rather than his achievements. Nevertheless, for more than twenty
years the musical world has been divided over the two contemporaries.
From California, they still send their message over the world, enchant–
ing and stimulating their followers, irritating and provoking their ad–
versaries.
Stravinsky and Schonberg both live completely shut off from "offi–
cial" Hollywood life. Schonberg's house is far out, in Brentwood Park,
about twenty miles from the center of town. Stravinsky's house, though
nearer the center, is tucked away on a little hillside. Both men see few
people, not because they are antisocial, but because few people here
care to see them.
A great part of Schonberg's life has been devoted to teaching. He
always has been, and still is, a real
master.
Here on the Coast he taught
for many years at the University of California in Los Angeles. The age
limit being sixty-five, an exception was made for
him,
and he stayed
on until he had to retire at seventy. He still takes private pupils. Some
of them come from far away: one of the first persons I met at his house
was a young musician from New Zealand. On Sundays there is a class
of about fifteen students. Significantly, it is attended even by some of
Schonberg's former University pupils, who are now accomplished musi–
cians and teachers themselves.
Schonberg never teaches a style at all. His only object is to train
the musical faculties of his pupils. He has never tried to induce anyone
to write as he does. Up till recently he did not even bother to examine,
from a didactic point of view, works which adopted his method of
composition with twelve tones, because he thought that when someone
had reached this stage, he had already become (whether good or bad)
a mature composer. He thinks of himself as the heir of principles which
it is his duty to transmit.
Stravinsky's case is different. He has never actually taught. This
should not seem surprising when we consider his general musical atti–
tude. What is there for
him
to teach? His own "tricks"? When asked
about having pupils, Stravinsky's answer is a simple one: Everything I
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