The Musical World: 1909-1912 Synchronic view of history (the multiplicity of styles emerging at the same time). As opposed to a diachronic view.
Bartok: Bluebeard's Castle (1911)
Berg: Piano Sonata Op. 1 (1908), String Quartet Op. 3 (1910) last
piece under Schoenberg's influence.
Busoni: Grosse Fuge (after Bach),Fantasia Contrappuntistica (1910)
Debussy: Preludes (Book I: 1910, Book II: 1913), Jeux (1913)
Ives: Washington's Birthday , Second Orchestral Set (1909) , starts
Fourth Symphony (1910), First Piano Sonata (1902-1910),
Second String Quartet, "Emerson" from Concord Sonata, Robert Browning Overture (1912)
Mahler: Das Lied von der Erde (1908-1909)
Symphony no. 9 (1910)
Symphony no. 10 (1911) complete in short score
Ravel: Valses nobles et sentimentales (1911)
Three Poems of Mallarme (1913)
Piano Trio 1914
Satie: En Habit de Cheval (1911)
Three Flasque Preludes (1912)
Five Grimaces for Cocteau's unrealized production of Midsummer Night's Dream (1914)
Schoenberg: Book of the Hanging Gardens Op. 15 (1908-1909)
Five Pieces for orchestra Op.16, Erwartung (1909)
Die Gluckliche Hand Op. 18 (1910)
Six Little Piano Pieces Op. 19 (1911)
Pierot Lunaire Op. 21 (1912)
Scriabin: Prometheus Op. 60 (1910)
text of Mysterium (1913)
Stravinsky: Firebird (1909)
Rite of Spring (1912-13)
R. Strauss: Elektra (1909)
Der RosenKavalier (1909-1910)
Ariadne auf Naxos (1912)
Varese: Bourgogne (1909)
Meets Mahler through von Hofmannsthal (collaborates with H on
Oedipus and the Sphinx (1910)
Both listed pieces destroyed by V in a rage,1919.
Webern: Five Movements for String Quartet Op. 5, Six Pieces for
Orchestra Op. 6 (1909)
Four Pieces for Violin and Piano Op. 7, Two Songs on Texts of Rilke Op. 8 (1910)
Six Bagatelles for String Quartet Op. 9 (1913)
Note: Dvorak dies in 1904 and Puccini's Madama Butterfly is premiered that same year.
Project: See how many important musical premieres you can find in 1909-1912.
Also review important artistic movements like fauves (1905).
Picasso's Les Demoiselles d"Avignons finished in 1907 (comparable work by Matisse a year earlier.
If vastly different styles are current in the years 1909-1912, are there any common threads beneath the surface?
Must we revise our notion of style to take into account this synchronic view of the early 20th century?
Start to think about the cross fertilization between the arts onl hinted at in the famous collaborations before WW I.
How much of this is a reaction to Romanticism and how much a positive vision of the future.
Is the abstraction of hard analysis compromised by aesthetic considerations, or is a deeper truth revealed by stripping away the surface?