Representations of Beauty in Choral Music at the Beginning of the 20th and 21st Centuries: Schoenberg’s “Friede auf Erden” and Lauridsen’s “O Nata Lux”

Notes
¹Reviews of the Cantata Singers’ 2005 concert with two performances of “Friede auf Erden” are here (http://www.cantatasingers.org/news.html).

²Walter Frisch, “The ‘Brahms Fog’: On Analyzing Brahmsian Influences at the Fin de Sìecle,” in Brahms and His World, ed. Walter Frisch (Princeton: Princeton University Press, 1990), 81-99.

³Allen Forte, “Schoenberg’s Creative Evolution: The Path to Atonality,” Musical Quarterly 64 (1978): 133-76.

⁴Arnold Schoenberg, “My Evolution,” in Style and Idea: Selected Writings of Arnold Schoenberg, ed. Leonard Stein, trans. Leo Black (Berkeley: University of California Press, 1975), 79-94. From p. 91: “…a convincing development which enabled me to establish the law of the emancipation of the dissonance, according to which the comprehensibility of the dissonance is considered as important as the comprehensibility of the consonance. Thus dissonances need not be a spicy addition to dull sounds. They are natural and logical outgrowths of an organism. And this organism lives as vitally in its phrases, rhythms, motifs and melodies as ever before.”

⁵Anton von Webern, “ Schoenberg’s Music,” in Schoenberg and His World, ed. Walter Frisch (Princeton: Princeton University Press, 1999), 210.