““In fact, had there been less discussion of the syntactical construction of Schoenberg’s music, and more of what it says, people might more readily have noticed what an essentially positive composer he is. There is no trace in his music of the post-Wagnerian ‘death wish’ that infected so many of his contemporaries, and can even be traced in the music of younger men like Berg. He explored horror and disorientation because he believed they could not be effectively rejected and transcended until they had been fully known. ‘Clarification””
