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Music about Music: the First String Quartet, Opus 37, in C, by Karol Szymanowski

Authors
Journal
Canadian University Music Review
0710-0353
Publisher
Consortium Erudit
Publication Date
Issue
7
Identifiers
DOI: 10.7202/1014092ar
Disciplines
  • Political Science

Abstract

"Music about Music: the First String Quartet, Opus 37, in C, by Karol Szymanowski" Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Article Paul Cadrin Canadian University Music Review / Revue de musique des universités canadiennes, n° 7, 1986, p. 171-187. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/1014092ar DOI: 10.7202/1014092ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI http://www.erudit.org/apropos/utilisation.html Document téléchargé le 25 February 2014 10:47 "Music about Music: the First String Quartet, Opus 37, in C, by Karol Szymanowski" MUSIC ABOUT MUSIC: THE FIRST STRING QUARTET, OPUS 37, IN C, BY KAROL SZYMANOWSKI Paul Cadrin In their recent book about Stravinsky, the Dutch composer Louis Andriessen and critic Elmer Schonberger propose the following allegory for music: We have to imagine an art of painting that has its roots in one single painting... That one painting portrays the last tree and the last land- scape. After the completion of that painting, the tree was cut down and the landscape devastated. Since then, there were no more trees or landscapes to be seen. But that painting inspired other painters to paint trees and landscapes. The resulting paintings, in their turn, inspired a new generation of painters. In that way, it is possible that the present practitioners of

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