RUSH-TO-THE-PATENT-OFFICE MODERNISM

Chapter:

CHAPTER 4 Extinguishing the “Petty ‘I’ ” (Transcendentalism, I)

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

But first a word about the one composition using aggregate harmonies that was completed and performed—once only—during this phase of maximal maximalism. The composer was the then virtually unknown Alban Berg (1885–1935), formerly a pupil—and still very much a disciple—of Schoenberg. He would win fame in the 1920s as a composer of opera, and we will reencounter him. But the work that concerns us now is a little song cycle called Fünf Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4 (“Five lieder with orchestra on picture-postcard legends by Peter Altenberg”), composed in 1912. The performance, which took place under Schoenberg’s direction on 31 March 1913, provoked a reaction similar to the one that would greet the legendary premiere of The Rite of Spring two months later.

Citation (MLA):

Richard Taruskin. "Chapter 4 Extinguishing the “Petty ‘I’ ” (Transcendentalism, I)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 12 Oct. 2024. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-004002.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 4 Extinguishing the “Petty ‘I’ ” (Transcendentalism, I). In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-004002.xml

Citation (Chicago):

Richard Taruskin. "Chapter 4 Extinguishing the “Petty ‘I’ ” (Transcendentalism, I)." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-004002.xml