Schoenberg: The Future of Symphonic Thought

Keller, Hans

doi:10.2307/832366

Cited by 3 publications

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“…77 And although such integration might result in formal ambiguity, it could also take the tradition forward, exemplifying Keller's fourth guideline relating to the new symphonic territories that may arise from such combinations. Although there is no record of Skalkottas's views on formal design it is apparent that he adapted classical formal prototypes to a dodecaphonic context, often exploring the possibilities provided by the integration of different forms, particularly sonata-and rondo-like integration, 76 which for Keller was 'very important from the viewpoint of the future of symphonism'.…”

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confidence: 99%

“… 36 These guidelines first appear in Keller, ‘The Future of Symphonic Thought’, Perspectives of New Music , 13/1 (1974), pp. 3–20, here p. 20.…”

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“… 57 Hans Keller, lecture ‘Schoenberg's String Quartet No.4’ on BBC Radio 3, 22 September, 1974; transcription of the lecture in Alison Garnham, Hans Keller and the BBC (PhD dissertation, Goldsmiths College, University of London, 1999), pp. 547–48.…”

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“…Keller was in a minority in his appreciation of Skalkottas; yet, in his writings on music, he included him among 'our century's masters of symphonic thought', 7 considering him to be the only 'symphonic genius after Schoenberg'. 8 It is surprising that Keller should hold Skalkottas in such high regard, while Schoenberg's more famous students, Berg and Webern, do not make his list of symphonic geniuses. Keller regarded Webern as 'the ultimate expressionist', 9 who was 'never a symphonist [because] not only did he renounce extended structure, but he was a stater and varier rather than a contraster and developer'; 10 overall, Keller described him as 'probably the greatest small master ever'.…”

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“…8 It is surprising that Keller should hold Skalkottas in such high regard, while Schoenberg's more famous students, Berg and Webern, do not make his list of symphonic geniuses. Keller regarded Webern as 'the ultimate expressionist', 9 who was 'never a symphonist [because] not only did he renounce extended structure, but he was a stater and varier rather than a contraster and developer'; 10 overall, Keller described him as 'probably the greatest small master ever'. 11 Berg, on the other hand, although faring better in Keller's list of masters, was included amongst a category of composers Keller described as 'the dodecaphoneys', for 'he did not really write a single genuine twelve-note piece in his life'.…”

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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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Section: Resultsmentioning

confidence: 99%

“… 36 These guidelines first appear in Keller, ‘The Future of Symphonic Thought’, Perspectives of New Music , 13/1 (1974), pp. 3–20, here p. 20.…”

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confidence: 99%

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confidence: 99%

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confidence: 99%

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confidence: 99%

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Hans Keller, Nikos Skalkottas and the Notion of Symphonic Genius

Mantzourani¹

2013

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Time and Time Again: An Essay on Temporal Realities in Mozart's Operas

Perry-Camp¹

1993

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Integration, Urbanity, and Multi-Dimensionality in Schoenberg’s First Quartet

Reenan

2022

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This article addresses the network of forms and genres at play in Schoenberg’s First String Quartet, op. 7, proposing a conception of the work as a representation of urban life in fin-de-siècle Vienna. I offer a summary of the emotionally volatile program and prior analyses, highlighting the central points of contention between analysts. Most especially, these include the relationship between an overall sonata form and a set of intervening cyclic movements. I then problematize Steven Vande Moortele’s notion of “two-dimensional sonata form,” drawing from theoretical investigations into narrative levels and embedded forms in literary theory. The bulk of the article revolves around a thoroughgoing analysis of the large-scale form of the Quartet, presenting a novel reading that situates the work within a complex web of interacting forms and genres. The Quartet begins as a large-scale sonata form, which is interrupted by a juxtaposed cycle of interpolated movements. Upon the arrival of the rondo finale, the sonata is complete. I demonstrate that the rondo finale may be construed as a mirror to a large-scale overarching rondo that can explain the multiple dimensions of the entire work.

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Schoenberg: The Future of Symphonic Thought

Cited by 3 publications

References 0 publications

Hans Keller, Nikos Skalkottas and the Notion of Symphonic Genius

Hans Keller, Nikos Skalkottas and the Notion of Symphonic Genius

Time and Time Again: An Essay on Temporal Realities in Mozart's Operas

Integration, Urbanity, and Multi-Dimensionality in Schoenberg’s First Quartet

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