A variety of compositional approaches are used by twentieth-century composers when they confront the music of their predecessors. Sympathetic completion occurs when a composer reconstructs sketches or completes an unfinished work. "Compulsive orchestrators" rearrange older works into new orchestral versions. "Ultra-pragmatic composers" rework a composition, often in a new genre, to express a more personal vision. Changes are made to suit the new instrumentation, but the essence of the music remains the same. Distancing through quotation occurs when one musical work refers to another. In this new context, the inclusion of the older work adds an underlying subtext. A distance in style is often exaggerated, creating moments of surprise or shock. Taking this idea a step further, composers can also "relish the discomfort factor" by being intentionally indifferent toward a source. An example of distancing through quotation is found in Michael Tippett's The Knot Garden (1970). In the penultimate scene, the character Flora begins singing "Die liebe Farbe" from Schubert's Die schöne Müllerin. Yet she only makes it through half of the first verse before Schubert's music begins to dissolve into Tippett's tonal language. What begins as pure Schubert merges into a hybrid, and then ultimately resigns itself to a modern idiom. Luciano Berio's Rendering (1990) is harder to categorize. Berio begins by realizing the sketches of Schubert's tenth symphony. He then fills the compositional gaps with complex counterpoint and solo colors. Though quite outside of Schubert's style, this filler material is based upon three of Schubert's late works: the Piano Trio in B-flat Major, D 898 (1827), the Piano Sonata in B-flat Major, D 960 (1828) and Winterreise (1827). These juxtapositions of style exaggerate the stylistic difference between the two composers, but they might also create a relationship that we as listeners are not able to stand ("relishing the discomfort factor"). Hans Zender's Schuberts "Winterreise" (1993) falls into two categories. Some of his movements are extremely faithful to Schubert's Lieder, containing only minimal alterations. Other movements undergo several changes: "Auf dem Flusse" has a new prefatory section; "Der stürmische Morgen" includes percussive simulations of a storm; the accompaniment of "Die Leiermann" moves continually farther away from the tonic of B minor, though the melody remains unaltered. With his orchestral style differing greatly from that of Schubert, Zender may be "relishing the discomfort factor." Yet, Zender relates many stages of the song cycle's emotional journey, much like an "ultra-pragmatic" work retains the essence of its source.

Works: Michael Tippett: The Knot Garden (211-14, 226-27); Luciano Berio: Rendering (215-19, 227-29); Hans Zender: Schuberts "Winterreise" (219-26, 229-30).

Sources: Schubert, Die schöne Müllerin, "Die liebe Farbe" (212-14), Symphony No. 10 in D Major (incomplete) (215-19), Piano Trio in B-flat Major, D. 898 (216), Piano Sonata in B-flat Major, D. 960 (216), Winterreise (216, 219-226).

Index Classifications: 1900s

Contributed by: Laura B. Dallman