Devastated by the Pacific Palisades Fire: publisher of works of Arnold Schoenberg

Music

ed. note: We learned of the brutal fate of Belmont Publishing from the grandson of Arnold Schoenberg, a friend of artsmeme, Randol Schoenberg. This sad story we publish here while offering the Schoenberg family our deepest condolences

The fire that ravaged the Pacific Palisades community in early January left a trail of devastation, and unfortunately, Belmont Music Publishers was among its most significant casualties.  In a heartbreaking turn of events, Belmont , the esteemed house exclusively dedicated to preserving and promoting the works of Arnold Schoenberg, has been tragically destroyed. A fixture in the music world since the 1970’s, Belmont Music was the publisher and representative of Schoenberg’s iconic compositions, serving as a vital link between the composer’s visionary legacy and contemporary performers, scholars, and music lovers.

The entire inventory of sales and rental materials—comprising some manuscripts, original scores, and printed works—has been lost in the flames. For a company that focused exclusively on the works of Schoenberg, this loss represents not just a physical destruction of property but a profound cultural blow.

Belmont Music’s catalog encompassed Schoenberg’s complete range of compositions, from his early Romantic works to his groundbreaking twelve-tone pieces. These works, including compositions like Verklärte Nacht and Pierrot Lunaire, are foundational to the 20th-century classical repertoire. Belmont’s role in preserving and distributing these masterpieces was invaluable for musicians and scholars alike, who turned to the publisher for access to authentic, carefully edited editions of Schoenberg’s challenging but transformative music.

Arnold Schoenberg, one of the most influential composers of the early 20th century, revolutionized music with his development of the twelve-tone technique, a system that sought to replace traditional tonality with a new kind of order. His compositions challenged conventional approaches to harmony and form, and in doing so, reshaped the course of modern music. Belmont Music Publishers, founded with a singular mission to promote Schoenberg’s works, became a central institution for anyone seeking to understand or perform the composer’s innovative music.

For musicians, access to Belmont’s meticulously curated editions of Schoenberg’s works was an essential resource. The loss of these materials has been devastating not only to those who rely on the publisher for access to Schoenberg’s compositions but also to the broader musical community that respects and values the depth of Schoenberg’s contribution to music. Though the loss of its physical inventory is immeasurable, Belmont Music Publishers has made it clear that this is not the end of its story. In a heartfelt message on their website, the publisher has expressed its hope to rise from the ashes of the fire in a completely digital form.

“While we have lost our full inventory of sales and rental materials, we are determined to continue our mission of bringing Schoenberg’s music to the world,” said Larry Schoenberg, 82, one of the composer’s sons. “We hope to rebuild our catalog in a new, digital format that will ensure Schoenberg’s music remains accessible for future generations.

“We are committed to rebuilding and adapting to the changing times,” said Schoenberg. “The community’s outpouring of support has been truly heartening, and we know that, with your help, we can ensure that Schoenberg’s legacy lives on in a way that is as dynamic and enduring as his music.”

leave a comment

Merce Cunningham goddess Carolyn Brown enters modern-dance eternity

Dance
Carolyn Brown and Merce Cunningham in Suite for Five. Photograph by Marvin Silver, 1968, courtesy Cunningham Trust

It’s all in the photo. An unusual pose, but Merce Cunningham rolled that way … unusual. With the early female Cunningham dancers — Viola Farber and Sandra Neels come to mind, each an iconoclastic dancer — Carolyn Brown formed a threesome. But let’s face it, Carolyn Brown (1927-2025), who passed away recently, was the High Priestess of Cunningham Cool. In this photo, she demonstrates the purity of purpose, the unembellished physical truth, that seemed so very intentional in moments like this choreographic capture from Cunningham’s Suite for Five.

There she dangles in space, supported solely by her somewhat pigeon-toed partner. Her full body is engaged muscularly. Starting at bottom, with her beautifully pointed feet, running up her long legs, all the more imperious clad in white tights, through her lengthy ballerina backbone, she uses personal agency to forge that elegant high arch. I note Carolyn Brown’s eyes in this moment are wide open. Her back-bend is not a moment of rapture, or “release.” No. She is executing the specific instructions of an exigent choreographer and by dint of her training, the upside-down “J” curve she forms with her body creates a pleasing design. It is not intentionally pleasing but it is, in fact, pleasing — just as an element of nature could be pleasing. From her breastbone along her upper thorax to her resolute chin, you could balance a cup of tea. And the arms that hang just so, and the little break at her wrist that shows she is fully dancing, no matter whether she is upside down or inside out, she is dancing with full control of her arms right through to her naturalistic hands.

This intimate moment between two dancers contains not a whit of sentimentality or romance. Nor eroticism. But neither is it cold. It “is what it is.” It’s human, with no overlay of emotion. Two bodies, a man and a woman, in time and space, fulfilling a task. Motion got them there, and motion would retrieve them. I feel so very grateful having seen these two artists perform, Brown, with her obvious grounding in classical ballet making her an enigma within the Cunningham cult. She lived a long life and in it, she danced miles.

Carolyn Brown in Walkaround Time. Photograph by James Klosty, 1970.

Dance critic Debra Levine is founder/editor/publisher of arts●meme.

leave a comment

Colman Domingo’s star power galvanizes new film, ‘Sing Sing’

Film
by 
Director Greg Kwedar, Colman Domingo, Jane Fonda, Clarence Maclin attend A24’s Sing Sing Screening hosted by Jane Fonda, London Hotel in Los Angeles, Sat Jan 4, 2025 Following his Oscar-nominated turn as the civil rights leader in Rustin (2023), Colman Domingo is back in the awards spotlight this year with Sing Sing. The critically acclaimed ...

Clothes make the man, in ‘Monte Cristo’ & ‘West Side Story’

Architecture & Design · Dance · Fashion · Film
If clothes make the man in real life, then it’s only more so in the movies. That’s when an audience is maximally focused and alert, and processing quick information about characters. I found myself repeatedly distracted, in an awesome way, by the stunning men’s wear in THE COUNT OF MONTE CRISTO (2024), which I recently ...

Doubling down: MOMO, major Naharin work for Batsheva Dance Company, soon at Music Center

Dance
“Sorrow and beauty” forms a bittersweet promise augured in Batsheva Dance Company‘s upcoming performances at the Dorothy Chandler Pavilion, February 14-16, in which a challenging-looking full-evening work dating to 2022 by choreographer Ohad Naharin, MOMO, will have its North American premiere. It is the first time the groundbreaking and influential national dance company of Israel ...

‘The Brutalist’ leads crop of Oscar hopefuls exploring Jewish-American experience

Film · Reviews
by 
As awards season heats up in Los Angeles, The Brutalist seems to be a likely (arguably, the likely) frontrunner for Best Picture at the upcoming Oscars on March 2, certainly for those who’ve seen it. But that last bit is an important caveat. For, with a running time of three hours, twenty minutes (and a ...

Best of 2024, arts•meme movie picks!

Film
in mumbai, with ‘all we imagine as light’ We’ll leave THE BRUTALIST, Timothée Chalamet, Angelina Jolie descending the staircase of the Metropolitan Opera House in a St. Laurent cape, possibly confusing herself with the diva she played in MARIA. Leave all that to others. Can we say a polite “no thank you” to the horrifying ...

‘Once Upon a Mattress’ at Ahmanson: from Carol Burnett to Sutton Foster

Theater
Well, she certainly passed OUR “sensitivity test.” The adorable, kooky, brave and prodigiously talented triple-threat performer, Sutton Foster, commandeered the barn-like Ahmanson Theatre from a royal roost atop twenty mattresses in Once Upon a Mattress, a vastly entertaining re staging of the goofball classic musical-comedy treatment of Hans Christian Andersen’s fairy tale, “The Princess and ...

Jeremy Denk’s profound encounter with ‘crazy uncle’ Charles Ives at 92nd & Lex

Music
by 
Jeremy Denk, pianoall photos: Joseph Sinnott for 92nd St Y Jeremy Denk, one of our leading classical pianists, winner of a MacArthur fellowship and the Avery Fisher Prize, originally dismissed the gnarly genius Charles Ives  as “the crazy uncle of American music, weaving familiar tunes—hymns, ragtime, marches—into unsettling quilts.” But over time Denk has evolved ...

Stirring farewell to ‘Dancing Spirit’ Judith Jamison at New York City Center

Dance
by 
There was a vast family gathering at New York City Center on Wednesday December 11, and it felt like a warm embrace encompassed everyone in the theater. While there were no blood relatives of Judith Jamison speaking from the stage at this superbly and lovingly produced tribute, the Alvin Ailey family was out in full ...