Musical Borrowing
An Annotated Bibliography

Individual record

[+] Lessem, Alan. "Schoenberg, Stravinsky, and Neo-Classicism: The Issues Reexamined." The Musical Quarterly 68 (October 1982): 527-42.

Despite clear similarities in the evolution of the Neoclassical styles of Schoenberg and Stravinsky, comparisons often prove more insightful when used to highlight their differences. Both composers felt a strong need to reconcile current compositional trends with those of the past, and attempted this partially through borrowing from the established classical tradition, as seen in Stravinsky's use of established forms in non-conventional ways. Stravinsky's tendency to use existing music as musical material to be manipulated is evident in the third movement of his Piano Sonata, which is clearly based on Beethoven's Sonata in F Major, Op. 54. While there is a clear relationship between these pieces, Stravinsky's use of the material completely reconceives Beethoven's ideas of form and harmony, a trait common to many of Stravinsky's recompositions.

Works: Stravinsky: Piano Sonata (541), Octet for Winds (541-42).

Sources: Beethoven: Piano Sonata in F Major, Op. 54 (541).

Index Classifications: 1900s

Contributed by: Sherri Winks

Except where otherwise noted, this website is subject to a Creative Commons Attribution 4.0 International License
Musical Borrowing and Reworking - - 2024
Creative Commons Attribution License