I'll interpret Kinjo's off-hand edit to mean that Schoenberg, for better or worse, is no longer contemporary. More importantly, Kinjo comments on the music of On the Transmigration of Souls:
The piece is comprised of street noises, choral voices, spoken word, and the symphony orchestra. The musical aspect of the piece is slightly disappointing to me. It doesn't reach the emotional nadir that Samuel Barber's Adagio for Strings set (IMHO) as the gold standard for mournful music. Neither is it formless enough to really feel experimental or expressionistic.
On the other hand, he likes that among the voices used are "foreign-sounding" ones.