“我亲爱的哈格尔”:在勋伯格《第二弦乐四重奏》中的自画像

'My Dear Hagerl':Self-Representation in Schoenberg's String Quartet NO.2

阿诺尔德·勋伯格《第二弦乐四重奏》作品10号的创作年表证实,勋伯格起初力图使它成为一部纯粹的接近古典主义风格的作品,努力使自己的作品为公众所接受。然而,在创作的中途,这种想法被抛弃,一种更具原创性的作曲模式在他强烈的自我影像中产生。在这段创作时间里,从他妻子写给他的,至今仍未被发表过的书信中暗示出,勋伯格私人世界的客观因素导致了这一转变。

A reassessment of the compositional documents and chronology of Arnold Schoenberg's String Quartet No.2,op.10, shows that the composer,in an effort to make the work acceptable to the public.at first intended it to be an absolute composition close to the Classical norm.But midway through its period of creation this conception was discarded in favor of a more original formative model that grew from an intense process of self-reflection.The content of hitherto unpublished letters from his wife written during these months suggests that this transformation was driven by an objectification of Schoenberg's private world.