Between 1912 and 1923 he [Schoenberg] wrote very few works, dedicating his time instead to developing the twelve-tone technique which would provide him with the framework he needed for atonal composition. The fruition of all this work can be found in the last of his Five Piano Pieces, Op. 23 – a Waltz (CD 1, track 2). It is based strictly on a twelve-note row, but the listener should not try to hear where the row starts and stops; the serial construction is more a framework within which the composer can work than a device to help the listener appreciate the piece.
- Is McCleery wrong that listeners "should not try to hear where the row starts and stops"?
I know that he's discussing Schoenberg in this quote, but I think McCleery's wrong as Gil Shaham and Leonard Bernstein (at 1:08:01 in his 5th of 6 Norton Lectures) expound Berg's Violin Concerto by spotlighting Berg's (perhaps tonal, triadic, unoriginal) tone row. Why would they do so, if listeners oughtn't track tone rows?
In general, what are the cons of following tone rows for listeners?
What are the pros?