Music of my future : the Schoenberg quartets and trio
Author(s)
Bibliographic Information
Music of my future : the Schoenberg quartets and trio
（Isham Library papers, 5）（Harvard publications in music, 20）
Harvard University Department of Music, 2000
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Note
Papers presented at a symposium held in John Knowles Paine Concert Hall of the Harvard Music Dept., Feb. 26-27, 1999
"In honor of David Lewin."--CIP data
Includes index
Text in English; includes German poems with English translations
Contents of Works
- Schoenberg's quartets and the Viennese tradition / Reinhold Brinkmann
- Schoenberg, Kolisch, and the continuity of Viennese quartet culture / Christoph Wolff
- Form, innovation, modernism : early responses to Schoenberg's first quartet / Karen Painter
- On Schoenberg's view of the Beethoven quartets / Lewis Lockwood
- Motive and memory in Schoenberg's first quartet / Michael Cherlin
- "Ich fühle Luft von anderem Planeten" : Schoenberg reads George / Judith Ryan
- Metric conflict as an agent of formal design in the first movement of Schoenberg's quartet opus 30 / Jeff Nichols
- Schoenberg and the tradition of imitative counterpoint : remarks on the third and fourth quartets and the trio / Stephen Peles
- Moments of closure : thoughts on the suspension of tonality in Schoenberg's fourth quartet and trio / Richard Kurth
- The Schoenberg trio : tradition at an apocalyptic moment / Martin Boykan
Description and Table of Contents
Description
Schoenberg's quartets and trio, composed over a nearly forty-year period, occupy a central position among twentieth-century chamber music. This volume, based on papers presented at a conference in honor of David Lewin, collects a wide range of approaches to Schoenberg's pieces.
The first part of the book provides a historical context to these works, examining Viennese quartet culture and traditions, Webern's reception of Schoenberg's Second Quartet, Schoenberg's view of the Beethoven quartets, and the early reception of Schoenberg's First Quartet. The second part examines musical issues of motive, text setting, meter, imitative counterpoint, and closure within Schoenberg's quartets and trio.
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