A brief survey of the history of borrowing starts from borrowing as an everyday method of composing in the sixteenth century to transcriptions and arrangement of the sixteenth century up to Ives and Stravinsky. Both Ives and Stravinsky are the key composers for the output of Louis Andriessen, the latter for some time, the former for a relatively short time. A discussion of Andriessen's Anachrony I to the memory of Ives and Contra Tempus notes the simultaneous use of different musical languages, orchestral clichés, and hidden quotations and notes Stravinsky's influence in the borrowings from different periods. Despite quotations, Andriessen's works are original, for he orders and processes all the materials in a creative way. A brief discussion of Peter Schat's On Escalation notes the uses of specific quotations, stylistic quotations, and counterfeit stylistic quotations.

Works: Andriessen: Anachrony I (7), Contra Tempus (9); Hindemith: Der Schwanendreher (5); Ives: Concord Sonata (4); Ravel: Bolero (8); Rossini: Le Comte Ory (4), Andremo a Parigi (4); Schat: On Escalation (11).

Index Classifications: 1900s

Contributed by: Jean Pang