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As is clear from his comments accompanying these LPs and his note on pagehis faith in Schoenberg's most ambitious dramatic project remains undimmed and he believes that, with increasing familiarity, the music becomes ''clearer, less complicated, and more expressive and romantic''. This may well be true, but I think that becoming familiar with the opera also reinforces its remarkable ambiguity and originality. Moses und Aron is a necessarily and challengingly diverse composition.

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This paper is an elaborate response to Stanely Cavell's suggestion that Schoenberg's idea of the tone row is a serviceable image of Wittgenstein's idea of grammar. I argue that this suggestion underplays what must be a major premise in any argument for yoking Wittgenstein and Schoenberg: Wittgenstein's philosophically entrenched rejection of modern music. I consider this omission in the context of Wittgenstein's idiosyncratic emulation of Schenker's theory of music in order to facilitate a direct comparison between Wittgenstein's and Schoenberg's sharply contrasted visions of the music of the future.

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Not everybody feels it even now. But the history of 20th-century music is simply unimaginable without Schoenberg. Love his works or loathe them, he is the inescapable phenomenon, the divisive figure who set music on a new path.

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Arnold Schoenberg. December 8, Shortly before the beginning of the second Viennese performance of Les contes d'Hoffmann in the Ringtheater, fire breaks out on stage. Since the doors open inward, many are killed in the crush. About people are burned, asphyxiated, or trampled to death.

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March 27, by Carolyn Enger. Arnold Schoenberg to Gustav Mahler, 12 December this date may be incorrect, and the letter likely refers to Mahler's Third Symphony. I must not speak as a musician to a musician if I am to give any idea of the incredible impression your symphony made on me: I can speak only as one human being to another.

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I was rooting around in the bowels of the library one day, and I discovered Robert Crafts book with images of Stravinsky. Stravinsky always kept himself in good physical condition by doing gymnastics. In any case, Stravinsky was impressed enough to preserve some photos of himself of which he was apparently very proud.

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T he strong chorus of the Welsh National Opera is simulating an orgy in a Cardiff rehearsal room. One bare-chested man is waving his shirt above his chest, couples are in clinches in the back rows and, a few feet from me, a man and woman have been grappling on the floor, while I maintain a polite rictus. This is Arnold Schoenberg's bracingly austere Moses und Aronone of the most difficult of operas for audiences —at least for those not steeped in Kantian transcendental idealism, Schopenhauer's metaphysics, tone serialism or the more abstruse questions of Jewish conceptions of the divine.

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Happy New Ears Sieuwert Verster, director of the Orchestra of the Eighteenth Century, once noted that in no other country in the world was the amount of publicly offered music as great as it is in the Netherlands. After all, he said, where else could one find more outstanding musicians, ensembles and orchestras within the confines of such a small area than in this country-notwithstanding all of the cutbacks made with respect to cultural funding? Verster's observation is, of course, accurate, in so far as it relates solely to the aspect of quantity.

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Moses is a much harder work than, for example, Lulu. There is a bel canto, legato quality to Lulu that is in contrast to the predominantly spoken and contrapuntal Moses. Eventually, I succeeded, but the further I forged ahead, the more I became aware of the enormity of the practical task ahead of me. It was so well received that it was repeated the following year.

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