Memory and Rhetorical Trope in Schoenberg's String Trio

Cherlin, Michael

doi:10.1525/jams.1998.51.3.03a00050

Journal of the American Musicological Society

1998

DOI: 10.1525/jams.1998.51.3.03a00050

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Memory and Rhetorical Trope in Schoenberg's String Trio

Michael Cherlin¹

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“…200–35; Joseph Auner, ‘Schoenberg's Handel Concerto and the Ruins of the Tradition’, Journal of the American Musicological Society , 49 (1996), pp. 264–313; Michael Cherlin, ‘Memory and Rhetorical Trope in Schoenberg's String Trio’, Journal of the American Musicological Society , 51 (1998), pp. 559–602; Richard Kurth, ‘Moments of Closure: Thoughts on the Suspension of Tonality in Schoenberg's Fourth Quartet and Trio’, in Reinhold Brinkmann, and Christoph Wolff (eds), Music of My Future: The Schoenberg Quartets and Trio , (Cambridge: Harvard University Press, 2000), pp.…”

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Hans Keller, Nikos Skalkottas and the Notion of Symphonic Genius

Mantzourani¹

2013

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In his writings on music Hans Keller includes Skalkottas among the few great twentieth-century composers of ‘symphonic thought’, and considers him to be the only ‘symphonic genius’ after Schoenberg whose ‘genius’ remains to be discovered. Although during the time of his writings, Keller was in a minority in his appreciation of this relatively minor composer in the Western art music canon, he did not analyse any of Skalkottas's music in support of his views, as he did with the works of other composers who, although important to him, are not elevated to such a high plane. This paper first gives an overview of Keller's approach to and understanding of symphonic thought, as presented in his various writings and exemplified in his analyses of Schoenberg's music. Subsequently, it examines certain of Skalkottas's 12-note works and the compositional techniques he applies to construct them, which exhibit these characteristics of symphonic thought defined by Keller, and which might be used to substantiate his unexplained but intuitively correct assertions.

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Hans Keller, Nikos Skalkottas and the Notion of Symphonic Genius

Mantzourani¹

2013

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“An Idea Can Never Perish”: Memory, the Musical Idea, and Schoenberg's A Survivor From Warsaw (1947)

Wlodarski¹

2007

Journal of Musicology

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Disability and “Late Style” in Music

Straus¹

2008

Journal of Musicology

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““Late style”” is a longstanding aesthetic category in all the arts. Late-style music is presumed to have certain internal qualities (such as fragmentation, intimacy, nostalgia, or concision) and to be associated with certain external factors (such as the age of the composer, his or her proximity to and foreknowledge of death, lateness within a historical period, or a sense of authorial belatedness with respect to significant predecessors). Upon closer inspection, it appears that many of these external factors are unreliably correlated with a musical style that might be described as late. Late style is often better correlated with the bodily or mental condition of the composer: most composers who write in what is recognized as a late style have shared experiences of non-normative bodily or mental function, that is, of impairment and disability. Composers inscribe their disabilities in their music, and the result is often correlated with what is generally called late style. Close readings of four modernist works serve to illuminate the concept: Stravinsky, Requiem Canticles; Schoenberg, String Trio; Bartóók, Third Piano Concerto; and Copland, Night Thoughts. In each case, I contend that the features of these works generally understood as markers of lateness are better understood in relation to the disabled bodies of their composers.

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Memory and Rhetorical Trope in Schoenberg's String Trio

Cited by 3 publications

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Hans Keller, Nikos Skalkottas and the Notion of Symphonic Genius

Hans Keller, Nikos Skalkottas and the Notion of Symphonic Genius

“An Idea Can Never Perish”: Memory, the Musical Idea, and Schoenberg's A Survivor From Warsaw (1947)

Disability and “Late Style” in Music

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