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Chapter:

CHAPTER 12 In Search of Utopia

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

The first composers after Schoenberg to adopt his twelve-tone methods were, naturally enough, his former pupils Berg and Webern. Berg’s first essay using aspects of the new technique was the Chamber Concerto for violin, piano, and an ensemble of thirteen wind instruments (1925), the first piece he composed after finishing Wozzeck. It was a fiftieth-birthday offering to Schoenberg and, as we saw in chapter 6, its row material incorporated the names Schoenberg Berg and Webern as pitch ciphers. As in some of Schoenberg’s early twelve-tone compositions like the Serenade, op. 24, Berg’s use of tone rows in the Chamber Concerto was sporadic.

Citation (MLA):

Richard Taruskin. "Chapter 12 In Search of Utopia." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 25 Sep. 2023. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-012008.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 12 In Search of Utopia. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 25 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-012008.xml

Citation (Chicago):

Richard Taruskin. "Chapter 12 In Search of Utopia." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 25 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-012008.xml