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Part I. Vienna: 1885-1915. The German Romantic legacy. Richard Strauss: tone poem and song ; Gustav Mahler song and symphony. Des Knaben Wunderhorn ; The Wunderhorn symphonies. Symphony no. 2 ; Beethoven and the Viennese secession ; Das Lied von der Erde -- Schoenberg to 1909: Extending traditions. Early works ; Two string quartets and a symphony, op. 7, 9 ,10 ; Three Pieces for Piano, op. 11, and Five Pieces for Orchestra, op. 16 -- Webern: opus 1 to opus 12. Backgrounds and early works: nature and the Wunderhorn ; Orchestral works, op. 6 and op. 10 -- Alban Berg before Wozzeck. "Warm die Lufte," op. 2, no. 4 ; Altenberglieder, op. 4 ; Three Pieces for Orchestra, op. 6 -- Part 2. Paris: 1885-1915. Debussy: impressionism and symbolism. Baudelaire and Wagner ; Ariettes oubliees and Verlaine ; Pour le piano and Satie ; Prelude a "L'apres-midi d'un faune" ; Pelleas and Melisande ; Later orchestral works ; Preludes for piano -- Maurice Ravel to the Mallarme songs (1913). Gaspard de la nuit ; Trois poemes de Stephane Mallarme -- Exoticism: importations from abroad. France and Russia: visions of the Orient, Spain, and Africa ; Debussy ; Ravel: Sheherezade and other works ; Maurice Delage and later echoes -- Symbolist reverberations abroad: (I): decadent symbolism. Salome. Huysmans, A rebours ; Wilde, Beardsley, Klimt, Strauss ; Strauss's Salome ; Florent Schmitt, La tragedie de Salome -- Bluebeard. Maeterlinck, Dukas, and Ariane et Barbe-bleue ; Bartok, Duke Bluebeard's Castle -- Symbolist reverberations Abroad (II): synesthetic symbolism. Baudelaire, Rimbaud, and Huysmans ; Kandinsky and Der Blaue Reiter: The Yellow Sound ; Schoenberg and Der Blaue Reiter. Die gluckliche Hand ; Herzgewachse -- Skriabin and Der Blaue Reiter: Promethus -- Part 3. Emblems of crisis: 1909-1914. Expressionism: the path to Pierrot. Backgrounds ; Schoenberg, Erwartung ; Schoenberg, Pierrot lunaire ; Backgrounds ; Schoenberg's opus 21 ; Ravel and Vienna: La Valse -- Primitivim: the road to The Rite. The Russian avant-garde ; Rimsky-Korsakov ; The "World of art" ; Diaghilev and the young Stravinsky ; The Firebird, Petrushka, and folk sources ; The Rite of Spring ; Backgrounds ; The music ; From Le Sacre to Les Noces ; Les Noces -- Part 4. Isms and national identities: 1910-1930. Futurism: manifestos and machines. Italian futurism ; Russian futurism ; Later repercussions of futurism: Antheil, Milhaud, Honegger, Prokofiev, Ornstein, Cowell, Varese, Hindemith -- The new simplicities: France. Folksong and the voices of animals and children ; Erik Satie: before Parade ; Cocteau, Satie, and Les Six: Parade and after Parade. Les maries de la Tour Eiffel -- Francis Poulenc: from Le Bestiaire to Hotel ; Darius Milhaud: Le boeuf sur le toit and La creation du mond ; Arthur Honegger ; Ravel: from L'enfant dt les sortileges to the piano concerti -- The new simplicities: Germany. Schoenberg and the "Uberbrettl" ; American currents ; Paul Hindemith: jazz, "The new objectivity," "Music for use," and folk tunes ; Carl Orff ; Ernst Krenek: Jonny spielt auf ; Kurt Weill ; Berg, Gershwin, and company -- Toward neoclassicism. Fin de siecle Paris ; Landowska, Debussy, and Ravel ; Stravinsky: "Back to". Pulcinella ; Octet ; Piano Concerto and Piano Sonata ; The Rake's Progress -- Schoenberg: "Onward from". Schoenberg and Stravinsky: Three Satires ; Suite for Piano, op. 25 ; Variations for Orchestra, op. 31 -- Hindemith: a call to order. Early chamber music ; Mathis der Mahler ; Hindemith as theorist -- Zemlinsky's Lyric Symphony: Against the tide. Mahler and Berg ; Posthumous reputation -- Berg: Wozzeck and the Violin Concerto. Wozzeck. Bruchner and the Wunderhorn tradition ; Formal issues -- Violin Concerto. Form, series, and quotation ; The secret program -- Postmortem: Lulu, wedekind, and Berg -- Webern's path to the new music. Trakl-lieder, op. 14 and the Latin Canons, op. 16 ; Webern and the series: Symphony, op. 21; Concerto, op. 24; Cantata, op. 29 ; Postmortems -- Part 5. Emerging national aspirations: 1910-1945. Hungary: Bela Bartok. Backgrounds and influences ; Melody and harmony ; Rhythm ; Form and figure: at the crossroads with Stravinsky and Schoenberg. Piano Concerto No. 1 ; The last string quartets, Piano concertos no. 2 and 3 -- Russians abroad and at home. Prokofiev ; Shostakovich. Symphony No. 5 ; Symphony No. 14 -- The twentieth-century Spanish and English renaissance; renewals in Italy. Spain. De Falla -- England. Vaughan Williams ; Walton ; Britten -- Italy -- An "American" music for America. Charles Ives. Background; songs, 1897-1917 ; Symphony No. 4 ; Piano sonata no. 2 -- American comosers, issues, and organizations in the 1920s ; Varese's international composers' guild and Cowell's New Music Edition. Carl Ruggles ; Riegger and Becker -- Copland: 1920 through World War II. An American in Paris and New York ; Piano Variations ; A simpler language -- Roy Harris. Symphony No. 3 -- Virgil Thomson. Paris-Boston-Paris ; Gertrude Stein and Four Saints in Three Acts ; Later works and writings -- Walter Piston and Ross Lee Finney ; Samuel Barber ; William Schuman ; Other Americans -- Part 6. Beyond nationalism: 1920-1950. Rituals, liturgies, and voices of war. Stravinsky. Symphony of psalms ; Mass and later works -- Poulenc. Mass and other latin works ; Figure humaine and "C" -- Olivier Messiaen. Early organ works ; The Technique of My Musical Language: Les corps ; glorieux; Quatuor pour la fin du temps ; Messe de la Pentecote: "Communion" -- Schoenberg ; Dallapicolla: Canti di prigionia and Sicut umbra ; Vaughan Williams and Hartmann: Whitman as war poet ; Britten: The War Requiem ; War without words: symbols and scenarios -- Part 7. Postwar serialism and the rise of an international avant-garde. Europe: in search of a common practice. Messiaen: Mode de valeurs et d'intensite; Livre d'orgue ; Boulez. Structures 1a ; Le marteau sans maitre ; Pli selon pli -- Stockhausen: from series to formula. Kreuzspiel ; From Zeitmasze to Tierkreis -- 20th-century analysis: the composer, the theorist, and the listener -- The United States of America. Babbitt: from Three Compositions for Piano to Relata I ; Sessions and Copland as serialists ; Broadening serial horizons: Perle, Wuorinen, and others ; Carter: a special case -- Serialism and the European old guard. Stravinsky: In Memoriam Dylan Thomas, Canticum Sacrum, Movements, and the last works ; Shostakovich, Soviet Russia, and serialism ; Britten, England, and serialism ; Other countries -- The international avant-garde: choice and chance. Eastern backgrounds: sonorities and structures ; John Cage ; Cage vis a vis Boulez and Stockhausen ; Brown, Feldman, and Wolff ; Conceptualists and conservatives ; Minimalism: a newer simplicity. Riley, Reich, and Glass ; Nonpulsed minimalism -- Part 8. The quest for new sounds. Electronics and explorations of duration, timbre, and space. Backgrounds ; France and the Netherlands: Schaeffer, Varese's Poeme electronique, Xenakis ; Germany: Stockhausen from Studie I to Mantra ; Cage and Milan: Berio, Pousseur ; Backgrounds for an Italian avant-garde ; America: Luening, Ussachevsky, Babbitt ; Other developments: musica elettronica viva, ONCE, and the performer -- The new virtuosity. The "New vocalism". Backgrounds ; Berio: Circles, Visage, Recital I, Sinfonia ; Henze: Being Beauteous and Voices ; Davies: Eight Songs of a Mad King ; Crumb: Ancient Voices of Children ; Lutoslawski: Trois poemes d'Henri Michaux -- Instruments: new sonorities and techniques, ancient and exotic. Keyboard ; Percussion ; Stringed instruments ; Wind instruments ; Oriental, exotic, historic -- Part 9. Past imperfect - future subjunctive. Uses of the past: a synthesis. Bach and before ; Beethoven's bicentennial ; Nineteenth-century models and the "New Romanticism" ; Composite and contemporary: art and popular models ; "Retro" music or "Music of the future" -- Uses of the past: the generic revivals. String quartet ; Symphony and concerto ; Orchestral and ensemble song ; Opera ; Rituals. Berio and Feldman ; Ritual theater: Stockhausen, Britten, and Partch ; Boulez and Messiaen ; Birtwistle and Tavener ; Penderecki ; Davies, Rouse, Schafer, Bassett, Wernick, and Hykes -- Envoi. |
