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Topic: Harold Schonberg

	Harold C. Schonberg, 87, Who Won Pulitzer Prize as Music Critic for The Times, Dies
		Schonberg's concert reviews were cogently argued and informed by both practical musicianship — he was a capable pianist — and a passion for the intensely emotional music and interpretive style of the Romantic era and its extensions into the 20th century.
		Schonberg was married to Rosalyn Krokover, a dance critic for the Musical Courier, from 1942 until her death in 1973.
		Schonberg vigorously defended his opinions when musicians, readers or other critics disagreed, and he sometimes said that he enjoyed the arguments, "so long as what I've written makes you think." At the same time, he always insisted that a critic's opinion, however forcefully held or fully supported by research, inevitably had a subjective element.
	www.nytimes.com /2003/07/27/obituaries/27SCHO.html?ei=5007&en=2d13a64e44addb1b&ex=1374638400&partner=USERLAND&pagewanted=print&position= (2213 words)

	Guardian \| Harold Schonberg
		The most important lesson to be drawn from the life of Harold Schonberg is that he was great not because he was right.
		Schonberg's best writing arguably came after his 1980 retirement, during which he continued to contribute to the NYT and freelance for numerous other publications.
		Schonberg pointed to problems in a performance, but stopped short of suggesting solutions, which are up to the performer.
	www.guardian.co.uk /print/0,3858,4736763-110878,00.html (1118 words)

	Classical Notes - Classical Classics - Berlioz: Harold in Italy, By Peter Gutmann
		The opening rhythm, forlorn melody and a lazily augmented version of the Harold theme return in an astounding coda where, remarkably, they are overlaid as three independent events occupying the same sonic space, a thoroughly baffling complexity in the context of its era yet a harbinger of the autonomous events of 20th century "chance" music.
		While much of Harold is grounded in the composer's cherished memories, the fourth movement culminates the work with a flight of pure fantasy that deliriously displays all the hallmarks of Berlioz's style.
		Their Harold indeed is remarkable, although there are some sonic compromises to modern ears; thus, while the sharp tympani are indeed thrilling, the trombones, which Berlioz regarded as a sonic anchor, emerge as rather light-weight for that role.
	www.classicalnotes.net /classics2/harold.html (4627 words)

	washingtonpost.com - Live Online -
		Schonberg was probably unique in that respect since he never wanted to be anything else, an ambition that crystallized as early as age 12 soon after seeing his first opera in 1927, Wagner's “Die Meistersinger von Nürnberg,” at the Metropolitan.
		Harold's weekly piece was already in type and on the page, but he threw it out, called for the Hurok clips, and had a lively, informed, and balanced 1,000-word essay ready to go in under 45 minutes.
		Harold bore being ignored stoically, but I think he was truly hurt that the newspaper he loved so much and had served so loyally would treat him so shabbily after he stepped down.
	discuss.washingtonpost.com /zforum/03/r_entertainment_page080603.htm (7017 words)

	TWO V5.3: A KING AMONG OBOE PLAYERS (Site not responding. Last check: )
		Of these, the most legendary is Harold Gomberg, brother of the above-mentioned Ralph, who is leaving the New York Philharmonic at the end of this season after 34 years with the orchestra.
		Harold, who had started the oboe at his public school, auditioned for Marcel Tabuteau at the age of 11, was taken into Curtis and remained there until 17, at which time he became solo oboist with the National Symphony under Hans Kindler.
		It was at Curtis that Harold met an attractive harpist named Margaret Brill, who was studying with Carlos Salzedo.
	idrs.colorado.edu /publications/TWOboist/TWO.V5.3/king.html (1144 words)

	HNH - Naxos Classical
		Harold Schonberg, who died in New York, aged 87, was music critic of The New York Times from 1960 to 1980 and thereafter its cultural essayist.
		Harold's was sometimes five years ahead, sometimes light-years behind.
		Harold Schonberg started out chasing police waggons as a crime reporter.
	www.naxos.com /newDesign/fopinions.files/bopinions.files/opinions172.htm (1023 words)

	The Blog of Death: Harold Schonberg
		Harold Charles Schonberg, a Pulitzer Prize-winning music critic for The New York Times, died on July 26.
		Schonberg took his first trip to the Metropolitan Opera when he was 11.
		Schonberg also published 13 books, including "The Great Pianists," "The Lives of the Great Composers" and "Facing the Music," a collection of his favorite columns.
	www.blogofdeath.com /archives/000184.html (367 words)

	Commentary Magazine - Harold Schonberg & His Times (Site not responding. Last check: )
		...in Schonberg's case it quickly became apparent that the result of his listening to the new was an increasing distaste, resulting finally in a kind of contempt for the reigning schools of avant-garde music-atonality, serialism, and the derivations thereof...
		...Schonberg's rejection of today in favor of yesterday is by no means restricted to performers on his favorite instrument, the piano...
		...Schonberg's constant lament is that American music, and other new music as well, lacks content, that the new trends have hardened into a new academicism...
	www.commentarymagazine.com /Summaries/V69I5P70-1.htm (4364 words)

	What Makes a great critic
		Harold Schonberg, who died in New York, aged 87, was music critic ofthe New York Times from 1960 to 1980 and thereafter its cultural essayist.
		Harold's was sometimes five years ahead, sometimes light-years behind.
		Harold Schonberg started out chasing police waggons as a crime reporter.
	www.scena.org /columns/lebrecht/031002-NL-critics.html (1041 words)

	Commentary Magazine - No More Great Composers? (Site not responding. Last check: )
		...Take Harold C. Schonberg, who served as chief music critic of the New York Times from 1960 to 1980 and was for many years one of the most powerful and controversial figures in the world of classical music...
		...It is worth pointing out that, however out of step Schonberg may be with the progressive-minded, his views happen to coincide with those of most working musicians, who continue to declare their own belief in greatness by regularly performing the music of the "powerful, individualistic composers" he writes about so passionately...
		...In short, Schonberg continues to hold a fundamentally premodern view of his subject, one in which the history of classical music consists in essence of the story of its canonical figures-the men who wrote the masterpieces...
	www.commentarymagazine.com /Summaries/V104I2P60-1.htm (1877 words)

	This Tough Customer Served the Customer
		Harold Schonberg, a legend for vanquishing deadlines, being congratulated in the New York Times newsroom on learning of his Pulitzer in 1971.
		Harold was not objective, but then you can't be a music critic and be objective.
		Harold was pleasantly surprised a few years ago to learn of his still legendary status as deadline writer in The Times's city room.
	www.nytimes.com /2003/08/03/arts/music/03HOLL.html?ex=1375243200&en=0873b202e513f495&ei=5007&partner=USERLAND (880 words)

	James Wierzbicki / music journalism
		The occasion was a celebration of the 75th birthdays of Harold C. Schonberg and Paul Hume, retired chief music critics, respectively, of The New York Times and The Washington Post.
		Schonberg's and Hume's thoughts on ''The Scene Today'' were supplemented by those of the Detroit News' Nancy Malitz and The Nation's David Hamilton.
		In the good old days, as Schonberg and Hume reminded the audience, big cities in this country had as many as four or five daily newspapers, each of which offered its readers a full complement of services that included commentary on as many classical music events as could possibly be covered.
	pages.sbcglobal.net /jameswierzbicki/journalism.htm (3014 words)

	The Lives of the Great Composers (Main Page)
		Schonberg discusses the lives and works of the foremost figures in classical music, among them Bach, Mozart, Beethoven, the Schumanns, Copland, and Stravinsky, weaving a fabric rich in detail and anecdote.
		Schonberg has extended the volume's coverage to provide informative and clearly written descriptions of the later serialists such as Stockhausen and Carter, the iconoclastic John Cage, the individualistic Messiaen, minimalist composers, the new tonalists, and women composers of all eras, including Mendelssohn Hensel, Chaminade, Smyth, Beach, and Zwilich.
		Harold C. Schonberg, senior New York Times music critic for twenty years, was the first in his field to be awarded the Pulitzer Prize for Criticism (1971).
	www2.wwnorton.com /catalog/spring97/lives.htm (274 words)

	Jack Bog's Blog: Neither right nor wrong
		Harold Schonberg, the chief music critic for The New York Times in the '60s and '70s, died over the weekend.
		They don't give out too many Pulitzer Prizes to music critics, but Schonberg was so good that he won one.
		Schonberg was a most accomplished and colorful writer.
	bojack.org /mt-arc/000448.html (283 words)

	Schonberg, 'NY Times' Music Critic, Dies
		In one 1979 column, Schonberg published the results of a test to determine the possibility of distinguishing between male and female pianists.
		Schonberg was born in Washington Heights in 1915.
		Schonberg retired as senior critic in 1980 and remained a cultural correspondent for the Times until 1985, contributing record reviews and occasional interviews after that.
	www.editorandpublisher.com /eandp/news/article_display.jsp?vnu_content_id=1943145 (478 words)

	US Chess Federation:
		He really was enthusiastic about the game.” Schonberg was the senior music critic for the New York Times from 1960 to 1980, and died at the age of 87 July 2003.
		Schonberg’s interest in chess also culminated during the first Spassky-Fischer World Championship match in Reykjavik, where, along with columnist GM Robert Byrne, Schonberg covered the historic meeting for the New York Times.
		Schonberg was born in New York on November 29, 1915.
	www.uschess.org /ratings/schonberg.php (376 words)

	International Piano Archives at Maryland, UM Libraries
		Harold C. Schonberg, one of the world's leading music critics, was born in New York City in 1915.
		Schonberg was awarded the Pulitzer Prize for Criticism in 1971.
		As of 2003, IPAM's Schonberg Collection consists mainly of a correspondence file of letters to and from Mr.
	www.lib.umd.edu /PAL/IPAM/IPAMschonberg.html (121 words)

	Amazon.co.uk: The Lives of the Great Composers: Harold C. Schonberg: Books
		Written for a lay public, Schonberg explores both the music of the composers and their influences, from Monteverdi to the minimalists of the late 20th century.
		Schonberg rather sets each composer in the context of their time - brief biographical notes being expanded by an analysis of their musical influences and an exploration of the themes and approaches which best characterise their work.
		First released in 1970, Schonberg remarks on the growing public disaffection with classical music, with its air of elitism and exclusivity, exacerbated by the too technical, philosophically and instrumentally atonal writing of the later 20th century which seemed to alienate people by exorcising emotion, optimism, and comprehensible melody.
	www.amazon.co.uk /Lives-Great-Composers-Harold-Schonberg/dp/0349109729 (919 words)

	Harold C. Schonberg Biography from Basic Famous People - Biographies of Celebrities and other Famous People
		Harold Charles Schonberg was a American music critic and journalist, most notably for the New York Times between 1960 and 1980.
		Schonberg joined the New York Times in 1950, before rising to the post of senior music critic a decade later.
		Schonberg is an extremely influential music writer, and has published a number of books concerning this subject.
	www.basicfamouspeople.com /index.php?aid=1128 (254 words)

	Amazon.ca: Great Pianists: Harold C. Schonberg: Books
		Schonberg writes with a great deal of humour and a dose of healthy scepticism as to some of the more abstruse utterings of the piano community.
		Schonberg brings the whole canvas to light in a clear, fluent, refreshing and readable way and does not confuse the reader with esoteric mumbo-jumbo.
		This book, by Harold Schonberg, is an endless description of the pianists who made the piano what it is today.
	www.amazon.ca /Great-Pianists-Harold-C-Schonberg/dp/0671638378 (1303 words)

	Omnibus Review of Books on Classical Music
		Schonberg devotes an entire chapter each to the very biggest names in classical music -- Bach, Beethoven, Wagner, et cetera -- while occasionally using a single chapter to group slightly lesser-known composers whose works share certain characteristics, such as the "Russian Five" or the French Impressionists or the English masters of the early twentieth century.
		Schonberg discusses the composers' works in brief, but only as they pertain to their lives, as opposed to the other way around.
		Schonberg's Lives of the Great Composers, while focusing on the specific figures at the heart of classical music, also gives the reader an excellent starting-point for understanding the history of the art itself.
	www.greenmanreview.com /book/book_omni_classicalmusic.html (1454 words)

	Beebo! Chopin the Pansy (Site not responding. Last check: )
		, by Harold C. Schonberg, he is described as follows: "He was a slight, refined-looking man, not much over a hundred pounds in weight, with a prominent nose, brown eyes (say some; others say blue-green), a pale complexion and beautiful hands.
		According to Schonberg, Chopin's most striking characteristic was his lack of power.
		Schonberg writes: "Chopin envied him [Liszt] his strength with the intense feeling that only the physical weakling can have for the strong man. Even as a youth Chopin admired strength, and he once wrote about a Herr Lehmann, otherwise unknown to history, 'I envied him his fingers.
	beebo.org /lately/chopin.html (385 words)

	Guides to the classical world
		For starters, then, I recommend a venerable, distinctly middlebrow but passionate and vastly entertaining book titled "The Lives of the Great Composers" by Harold C. Schonberg, who wrote for the New York Times for almost 50 years and was that paper's chief critic from 1960 to 1980.
		Schonberg possessed an encyclopedic knowledge of the central classical repertory; moreover, he was a master storyteller, with an eye for the telling anecdote that sums up a world.
		Interested readers might investigate Schonberg's volumes on "The Great Conductors" and "The Great Pianists," which are dated and fiercely opinionated but still manage to impart an enormous amount of technical and aesthetic information in the liveliest possible manner.
	www.thejournalnews.com /apps/pbcs.dll/article?AID=2006601080372 (702 words)

	MDHS - The Eubie Blake Collection
		In his letter, Eubie tells Schonberg he enjoyed the critic's article in the New York Times about ragtime music and Scott Joplin.
		Eubie gives him some brief biographical information on himself as one of Joplin's contemporaries, and encloses a Columbia record album of his recordings.
		Harold C. Schonberg, New York, 1971 February 12.
	www.mdhs.org /eubieblake/subs/detail.asp?cat=Correspondence&id=554&mult=1 (165 words)

	ChessCircle - Harold C. Schonberg, music critic and chess journalist, has
		Harold Schonberg, 87, died yesterday, July 26, at St. Luke's Hospital in New York.
		Harold Schonberg won the Pulitzer Prize as Music Critic for The Times.
		You would not call a man humane for ceasing to set mousetraps if he did so because he believed there were no mice in the house.
	www.chesscircle.net /forums/general-chess-forum/344-harold-c-schonberg-music-critic-and-chess-journalist-has.html (696 words)

	deseretnews.com \| The Bachauer: The prestigious piano competition kicks off next week at Rose Wagner (Site not responding. Last check: )
		Of those in the hall that evening was New York Times music critic Harold Schonberg.
		Schonberg was enamored by the stunning Greek pianist.
		One of them was William Foley, an executive with the music-publishing firm of G. Schirmer Inc. Since Bachauer had studied with Rachmaninoff for a few years during the 1930s, she asked Foley if she should make a new edition of their Rachmaninoff collection.
	deseretnews.com /dn/view/0,1249,640185486,00.html (977 words)

	[No title]
		Schonberg declared that "with such authorities as Jens Peter Larsen of Copenhagen University and Jan LaRue of New York University vouching for the authenticity of the manuscript, few will doubt the findings."
		Harold C. Schonberg, "Mozart's Earliest Symphony, Composed at 9, is Discovered," The New York Times (February 5, 1983), 1, 11.
		Dearling; Schonberg; Köchel Verzeichnis, 3rd ed.; "The Mozart Miracle"; and Sadie, 193.
	symposium.music.org /cgi-bin/m_symp_show.pl?id=666 (3803 words)

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