CLARIFICATION
fig. 12-4 Webern in the Ötztal Alps, July 1937.
With Webern the situation has been somewhat different. Drawn even more strongly than Schoenberg or Berg to symmetrically constructed rows, he was also drawn to extremes of structural rigor and economy that vastly exceeded theirs, reflecting his own personal predilections as we have already come to know them from the radically compressed “expressionistic” works encountered in chapter 6. “Adherence to the row is strict, often burdensome,” Webern wrote, “but it is salvation!”39 It provided a “new law”—Nomos—that made larger forms possible again. But even Webern’s larger forms were tiny. And his utopian vision of twelve-tone music as a discipline for musicians and a salvation for music has come, for reasons neither he nor any other composer could have predicted during his lifetime, to characterize the technique in the eyes of those who have cast themselves as his creative progeny, and to limit its scope.
- 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. 8 Dec. 2024. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-012009.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 8 Dec. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-012009.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 8 Dec. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-012009.xml
