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There was a time in American academia when, if you wanted to attain a bachelor’s degree in musical composition, you had to display a basic competence in the music of the Second Viennese School—of the composers Schoenberg, Berg, and Webern—and with the movement’s signal contribution to music history: twelve-tone technique, or as Schoenberg, its inventor, put it, the art of composing “with twelve tones which are related only with one another.”

By reputation an expert practitioner of twelve-tone technique, Lieberson had always had a secret yen for sensuous, late-Romantic harmony.

He is also interested in more stringent twelve-tone technique, and dips into that idiom every now and then.

In Italy, the land of Verdi and Puccini, Luigi Dallapiccola, 46, is the chief disciple of Arnold Schoenberg's strange-to-the-ear twelve-tone technique.

One result was that musical ideas could not be fully developed with Stravinsky's twelve-tone technique.