Musical Borrowing
An Annotated Bibliography

Individual record

[+] Metzer, David. "The Promise of the Past: Rochberg, Berio, and Stockhausen." In Quotation and Cultural Meaning in Twentieth-Century Music, 108-59. Cambridge: Cambridge University Press, 2003.

Composers who rejected serialism used quotation in their collage works as a source of promise and new possibilities. Rochberg seeks to use the music of the past in the form of ars combinatoria in Music for the Magic Theater, thus renewing both the past and present. Berio tries to create a bond between the past, present and a utopian future in the third movement of Sinfonia. In Hymnen, Stockhausen uses the medium of electroacoustic music in order to encompass global dimensions and develop a "sonic purity." By creating links between elements where none had previously existed, each composer responds differently to the use of quotation in the quest for utopia.

Works: Berio: Sinfonia (109-13, 128-39); Rochberg: Music for the Magic Theater (110-28), Third Symphony (125-28); Stockhausen: Hymnen (110-13, 139-59).

Sources: Mozart: Adagio from Divertimento No. 15, K. 287 (121-25); Mahler: Symphony No. 9 in D Major (123-25), Symphony No. 1 in D Major (Titan) (126), Symphony No. 2 in C Minor (Resurrection) (126, 129-39); Varèse: Déserts (123); Beethoven: String Quartet No. 13 in B-flat Major, Op. 130 (124-25), Missa Solemnis (126), Symphony No. 3 in E-flat Major, Op. 55 (126-28), Symphony No. 5 in C Minor, Op. 67 (126), Symphony No. 9 in D Minor, Op. 125 (126); Schütz: Saul, was verfolgst du mich (126); J. S. Bach: Chorale Prelude on Durch Adams Fall, BWV 637 (126); Ives: The Unanswered Question (126-27); Richard Strauss: Der Rosenkavalier (136); Boulez: Don (136-38); Webern: Cantata, Op. 31 (137).

Index Classifications: 1900s

Contributed by: Amanda Sewell

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