Remaking the Past : Musical Modernism and the Influence of the Tonal Tradition

225 Pages·1990·10.298 MB·English

by  Joseph Nathan Straus

Remaking the Past

J O S E PH Ν. S T R A US
Remaking the Past
Musical Modernism and the Influence of the Tonal Tradition
Harvard University Press
Cambridge, Massachusetts, and London, England 1990
Copyright Ο 1990 by Joseph Ν. Straus
All rights reserved
Printed in the United States of America
10 9 8 7 6 5 4 3 21
Publication of this book has been aided by a grant from
the Andrew W. Mellon Foundation.
This book is printed on acid-free paper, and its binding
materials have been chosen for strength and durability.
Library of Congress Cataloging-in-Publication Data
Straus, Joseph N.
Remaking the past : musical modernism and the
influence of the tonal tradition / Joseph N. Straus,
p. cm.
Includes bibliographical references.
ISBN 0-674-75990-7 (alk. paper)
ι. Music—20th century—History and criticism.
2. Musical form. 3. Harmony. 4. Melody.
5. Neoclassicism (Music). I. Title.
ML 197.S767 1990
78o'.9'o4—dc20 89-24721
CIP
MN
for Sally

Preface
In the first half of the twentieth century, musical life was dominated to an
unprecedented degree by the music of the past. Partly as a consequence,
musical compositions in that period were remarkably rich in allusions, both
overt and concealed, to older music. This book develops a critical frame-
work for interpreting these allusions in works by Stravinsky, Schoenberg,
Bartok, Webern, and Berg. Exemplars of musical modernism, they were
among the composers of their era best equipped to grapple successfully with
a potentially overwhelming musical tradition.
This is in no sense a comprehensive study of their music. Rather, through
analysis of a small number of works, I have tried to document their common
strategies for coming to terms with earlier music. I have attempted to trace a
variety of musical relationships, since these five composers remade their
shared tradition at every level of musical structure, from the motive to the
large forms.
This book is a study of musical construction, not of compositional psy-
chology or creative process. I describe, in music-structural terms, the ways
in which traditional musical elements are incorporated and reinterpreted
within post-tonal musical structures. Even when traditional elements are
present, it is the post-tonal structures that generally have priority. Com-
posers use their idiomatic post-tonal procedures not only to produce musical
coherence but simultaneously to comment ironically on the conventions of
the past.
In a musical world as heavily dominated by older music as western Europe
in the first part of this century, composers were not free to ignore their heri-
tage. Their need to establish a position within the tradition and to assert
their creative independence crucially determined the structure of their music.
(Indeed, that conflict is perhaps the central feature of modernism in all of the
arts.) This book reveals some of the musical results of their anxious struggle
to remake the past.
It is a pleasure to acknowledge a research grant from the American Council
of Learned Societies and the many friends and colleagues whose support,
advice, and generous criticisms have helped form this book. Allen Forte's
advice and guidance were indispensable to me during its long gestation.
Peter Burkholder, Paul Cantor, Michael Cherlin, Stephen Dembski, James
Gleick, Douglass Green, Martha Hyde, Heather Piatt, Esther Schor, and
Paul Wilson read part or all of the manuscript and made valuable sugges-
tions. I am deeply grateful to them and hope they will approve a work that
so clearly bears their influence. I am indebted to my editors at Harvard Uni-
versity Press, Margaretta Fulton and Elizabeth Hurwit, whose guidance and
expert editorial work have shaped this book so much for the better. Sally
Goldfarb provided her customary special assistance in matters legal, edi-
torial, and otherwise. This book is gratefully dedicated to her.
Excerpts from the following works are reprinted by permission of European-
American Music Distributors Corporation, sole U.S. and Canadian agent
for Universal Edition: Berg, Lyric Suite, Copyright 1927 by Universal Edi-
tion, Copyright Renewed, All Rights Reserved; Berg, Violin Concerto,
Copyright 1938 by Universal Edition, Copyright Renewed, All Rights
Reserved; Berg, Wozzeck, Copyright 1931 by Universal Edition A.G.,
Wien, Copyright Renewed, All Rights Reserved; and Webern, Movements
for String Quartet, Op. 5, Copyright 1922 by Universal-Edition, Copy-
right Renewed, All Rights Reserved.
Excerpts from Stravinsky, Concerto for Two Pianos, © B. Schotts
Soehne, Mainz, 1936, © Renewed, All Rights Reserved; Stravinsky, Sym-
phony in C, © Schott & Co. Ltd., London, 1948, © Renewed, All Rights
Reserved; and Stravinsky, Symphony in Three Movements, © Associated
Music Publishers, Inc., New York, 1946, Assigned to Schott and Co. Ltd.,
London, 1946, © Renewed, All Rights Reserved, are used by permission of
European-American Music Distributors Corporation, sole U.S. and Cana-
dian agent for Schott & Co. Ltd., London. Excerpts from Bartok, String
Quartet No. 2, Copyright 1920 by Universal Edition, Copyright Renewed,
All Rights Reserved, and Bartok, Piano Sonata, Copyright 1927 by Uni-
versal Edition, Copyright Renewed, All Rights Reserved, are used by per-
mission of European-American Music Distributors Corporation, agent for
Universal Edition.
Portions of the following works by Schoenberg are used by permission of
Vili PREFACE
Belmont Music Publishers: Little Piano Piece, Op. 19, No. 2; Piano Piece,
Op. Ii, No. 1; Piano Piece, Op. 33a; Pieces for Male Chorus, Op. 35;
String Quartet No. 3; analytical examples from Style and Idea; orchestration
of Bach, Chorale Prelude.
The example from Schoenberg s Concerto for String Quartet, Copyright
G. Schirmer Inc., International Copyright Secured, All Rights Reserved, is
reproduced by permission.
The example from Schoenberg, Fundamentals of Musical Composition, is
reprinted by permission of Faber and Faber Ltd.
Excerpts from the following works are reprinted by permission of Boosey
& Hawkes: Bartok, Concerto No. 3; Stravinsky-Bach, Canonic Variations;
Stravinsky, Fairy's Kiss, In Memoriam Dylan Thomas, Octet, Oedipus Rex,
Pulcinella, The Rake's Progress, Serenade in A, Symphony of Psalms, Sym-
phonies of Wind Instruments.
PREFACE