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Contents

Music in the Early Twentieth Century

“CONTEXTUALITY”

Chapter:
CHAPTER 6 Inner Occurrences (Transcendentalism, III)
Source:
MUSIC IN THE EARLY TWENTIETH CENTURY
Author(s):
Richard Taruskin

One strategy might be to observe a single motivic entity operating in Schoenberg’s music both in a context where it has differentiated degree functions and in one where it does not. A clue toward finding such a motive comes from a composition by Berg, a Kammerkonzert (“Chamber concerto”) for violin, piano, and thirteen wind instruments, which he composed in 1923–1925 and offered to Schoenberg as a belated fiftieth-birthday present. It opens with a five-bar motto in which Berg, using the German pitch-letter associations familiar from the famous BACH cipher (B♭–A–C–B), encoded Schoenberg’s name, Webern’s name, and his own name as musical themes played respectively by the piano, the violin, and a French horn from the accompanying band (Ex. 6-4):

ArnolD SCHönBErG = A–D–E♭–C–B–B♭–E–G;

Anton wEBErn = A–E–B♭–E;

AlBAn BErG = A–B♭–A–B♭–E–G

Citation (MLA):
Richard Taruskin. "Chapter 6 Inner Occurrences (Transcendentalism, III)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 18 Dec. 2018. <http://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006008.xml>.
Citation (APA):
Taruskin, R. (n.d.). Chapter 6 Inner Occurrences (Transcendentalism, III). In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 18 Dec. 2018, from http://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006008.xml
Citation (Chicago):
Richard Taruskin. "Chapter 6 Inner Occurrences (Transcendentalism, III)." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 18 Dec. 2018, from http://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006008.xml
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