Catalog of Self Quotation
Musical quotations are ,by definiton external to the intrinsic fabric of the work in which
they appear, primarily because of many referntial considerations: 1) the style of another composer,
2) the suggestion of a different historical or cultural time, and 3) the nature of any fragment as a
microcosm of its parent work. My use of quotations varies from a short reference, such as the beginning of
the Berg Violin Concerto orchestral introduction which I used as the accompaniment to the words,
"And ye shall know the truth, and the truth shall make you free." which the villain in Te Balland of the
Sleazy Palace Cafe, (1980) to more extensive use of tunes and themes as the basis of whole movements
("Ein Madchen oder Weibchen" from Mozart's Magic Flute which forms the basis of the Finale of
Piano Trio No. 1 (1980) or "What shall we do with the drunken Sailor" which kicks off the Finale of the
Sonata for Violoncello and Piano (1983). Some pieces, like En Chapeau (2005) for violin and piano
consist completely of quotations from a single composer (Debussy in this case), or for humorous intent, some
of the most famous quotations, like from Grieg's , Liszt's La Campanella, Brahms'
Tragic overture, Wagner's Tristan Prelude, and Beethoven's Fur Elise in Furball Elise,
a concert encore for piano. In any event the quotations are usually indicated and obvious in the pieces that use them.
For example: Serge P for two pianos, (1993)
is that composer's Sonata for Two Violins, rearranged with added entr'actes, and CPE, also for two pianos,
(1997) uses snippets from CPE Bach's Wurtemburg Sonatas as the basis of all three movements.
Where I use quotations from my own work, the reasons are often more complex, and the quotes are harder to
find. Usually, I have seen a new possibility in the musical materials, or the quotation provide a kind of sytlistic closure.
Below is a list of self quotations, starting with the earlier piece:
The following pieces are recompositions of earlier works:
Updated: April 19, 2007.