In an interview, Rochberg discusses his move toward serialism after World War II and his eventual return to the tonal idiom after the death of his son in the mid-1960s. Even though he was writing in the serial tradition after World War II, his music did not sound like that of other serial composers because he kept his sight on what he called "hard Romanticism," which Rochberg defines as an unattainable romantic notion that forces the music to open to the chaos of atonality. He eventually became disillusioned with serial techniques because it was only possible to manipulate the music in one way. Rochberg could find no true cadences or musical pauses for drama and expressive purposes. Starting with Contra Mortem et Tempus, Rochberg begin moving towards tonal music with the use of collage. He finally found his compositional style in String Quartet No. 3, which is rooted in both tonality and atonality. This piece, although not using collage technique, is formed through the music of previous eras that creates a sense of looking back to understand the future.

Works: Rochberg: Contra Mortem et Tempus (10), Music for the Magic Theater (10), Caprice Variations (10), String Quartet No. 3 (10-12).

Index Classifications: 1900s

Contributed by: Matthew Altizer