Lou Harrison (quoted in Miller and Lieberman 1998, p.22) describes that, "One of the major joys...is in the structure of the phrases. You know when you are hearing a theme, a building or answering phrase, a development or a coda. There is no swerving from the form-building nature of these classical phrases. The pleasure to be had from listening to them is the same that one has from hearing the large forms of Mozart....This is a feeling too seldom communicated in contemporary music, in much of which the most obvious formal considerations are not evident at all....The nature of his knowledge in this respect, perhaps more than anything else, places him in the position of torch-bearer to tradition in the vital and developing sense."
Source
Miller, Leta E. and Lieberman, Frederic (1998). Lou Harrison: Composing a World. Oxford University Press. ISBN 0195110226.
Unlike Schoenberg, Hauer did not proceed from tone-rows in a fixed order although the compressed notes (or, possibly, their translation) makes it very difficult to understand what must be a very complex compositional method.
The concerto is quite approachable too, an 18-minute, three-movement piece whose headings suggest the dance also ("Entrée", "Pas de deux" and "Coda") and which, as the composer freely admits in the notes, was strongly influenced by Schoenberg'spianoconcerto and Survivor from Warsaw.
The Concerto Grosso is a lovely neo-classical work and both it and the Concertino have moments reminiscent of the great 20th century English string serenades (although the composer is Catalan, there is no marked Iberian presence in the music).
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