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Spinner, ‘Die Reihe’, and Thematicism. Notes towards a thirteenth question

Published online by Cambridge University Press:  04 February 2010

David Drew
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Extract

1. Not repudiated; but shelved for better times or lost in worse. The question, however, was imprecise; and it allowed Spinner's many-enveloped reply to escape from the period between 1936 and 1941 (the year of the op. 2 string quartet).

2. Snapshots of opp. 1–28 have always shown the same immaculate flower-beds; row upon row. Such views seldom invite questions concerning the uprooted groundsel and convolvulus. Although closer inspection reveals that many of the works with opus numbers are still unpublished and unperformed, even that discovery may not prompt urgent questions about the development of a composer whose published works are all, to varying extents, rooted in Webernian precept. For instance, one might assume from a glance at the published scores of opp. 3–4 that the unpublished opp. 1–2 could safely be taken for granted (and that the 1941 revision of op. 1 brought it ‘in line’ with the rest). One would be wrong.

Type
Research Article
Information
Tempo , Issue 146 , September 1983 , pp. 9 - 12
Copyright
Copyright © Cambridge University Press 1983

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References

* Sub-question 13a: Did Spinner first meet Britten at the I935 ISCM Festival in Florence, where his Kleines Streichquartett was played by the Kolisch Quartet in the same concert as Britten's Phantasy Quartet?

† Sub-question 13b: what were the artistic (and human) consequences, on both sides, of Spinner's professional relationship with Stravinsky (as arranger and editor) from the time of The Rake's Progress to the end of Stravinsky's life? Respect was evidently mutual; but the documentation seems to be scanty.

* ‘The Music of Leopold Spinner’ (TEMPO 109); ‘Leopold Spinner's Later Music’ (TEMPO 110); ‘Leopold Spinner: The Last Phase’ (TEMPO 138).