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type. In focusing on shared features and hidden similarities in shape and contour, the tonal or harmonic significance of the various 'significant' notes in the themes would usually be ignored. So too would rhythm—with the result that Reti's method focuses on relatively abstract 'pitch cells' rather than rhythmically defined 'motifs'. In addition to admitting inversional and retrograde relationships between cells, Reti also introduced the process of 'interversion', in which the notes of a cell would be re-ordered.
192:) were unified thematically often, from a single idea. The metaphysical basis of this idea was the fact that such unity, was thought to be a metaphor for the unity of God's creation. Thus in Reti's analysis the "thematic process" is explored, in Schenker the analysis takes the form of a reductionist procedure, and in Schoenberg the unity of a musical work from a "Grundgestalt" (basic shape) is asserted.
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Reti's way of showing 'maintained substance' would usually involve constructing a music example which juxtaposed a number of contrasting themes; the 'homogeneity in the inner essence' was represented by the notes printed at full size; the 'variety in the outer appearance' would be relegated to small
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and
Schoenberg. Like Schenker, and Schoenberg, Reti's analysis of musical works was primarily motivic, tracing the evolution of a musical work from a melodic kernel. The preoccupation the three aforementioned theorists had with such procedure stems from a metaphysical belief that the works of the
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process' in music. His approach did not concern itself, however, with tracing the obvious thematic and motivic 'developments' displayed on the musical 'surface', but rather sought to demonstrate the way in which surface thematic variety is underpinned by a less apparent unity. For Reti, "the
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Reti's compositions have not remained in the repertoire, but he was an active composer and received a number of high-profile performances. At the end of the first
International Festival of Modern Music in Salzburg, in 1922, his 'Six Songs' were performed alongside
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125:. In 1948, Jean Sahlmark was the soloist in her husband's First Piano Concerto. Reti's output also includes several volumes of piano pieces and songs, an opera (
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199:, who regards Reti as having been over-concerned with proving the validity of his method, at the expense of producing convincing analyses of individual works.
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105:'s Second Quartet; three years later, at the 3rd ISCM Festival in Prague, his Concertino for Piano and Orchestra shared a programme with
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Reti's analytical procedure is best understood concurrently to the work of other contemporary German analysts of the time such as
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Reti's method, which is to be seen in the context of early-20th-century musicology, has been criticized by the music theorist
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different movements of a classical symphony are built from one identical thought", and the composer "strives toward
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in 1922. In 1939 Reti emigrated to the United States and later became an
American citizen. He became a member of the
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Reti is best remembered today for his distinctive method of musical analysis, which he claimed revealed the '
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and a supporter of modern music. Reti was in contact with
Schoenberg at the time of that composer's earliest
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208:'Salzburg - Verheißung und Gefahr', 23. Eine Wiener Musikzeitschrift, Reprint, Nummer 15/16 (1935)
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Tonality, Atonality, Pantonality: A study of some trends in twentieth century music
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176:. Therefore he changes the surface but maintains the substance of his shapes."
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Between 1930 and 1938 Reti was chief music critic for the
Austrian newspaper
152:. From 1943 he was married to the pianist, teacher, musicologist and editor
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225:'The Role of Duothematicism in the Evolution of Sonata Form',
50:, composer and pianist. He was the older brother of the
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and piano in Vienna. Among his teachers was the pianist
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works, and in 1911 gave the first performance of his
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46:; November 27, 1885 – February 7, 1957), was a
299:Rudolph and Richard Reti collection, 1910-1957
136:. Together with the composer and musicologist
16:Serbian musical analyst, composer and pianist
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142:International Society for Contemporary Music
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129:), as well as symphonic and choral music.
389:American people of Serbian-Jewish descent
247:Thematic Patterns in Sonatas of Beethoven
113:'s 'A Pastoral Symphony'. In 1938, his
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188:"great masters" (as exemplified in the
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429:20th-century American musicologists
148:, and came to hold a fellowship at
394:American people of Serbian descent
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424:People from the Kingdom of Serbia
123:Amsterdam Concertgebouw Orchestra
170:homogeneity in the inner essence
434:20th-century classical pianists
249:(ed. Deryck Cooke; Faber, 1967)
174:variety in the outer appearance
146:American Musicological Society
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414:Immigrants to Austria-Hungary
229:, Volume XVII Number 2 (1956)
212:The Thematic Process in Music
172:but at the same time towards
311:How to use archival material
261:A Guide to Musical Analysis
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404:Serbian classical pianists
409:Jewish classical pianists
85:, an eminent champion of
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399:American music theorists
259:Cook, Nicholas (1987),
117:Suite was performed by
190:First Viennese School
158:Montclair, New Jersey
214:(US 1951; UK 1961).
419:Serbian expatriates
288:Library of Congress
109:'s 'Half-Time' and
352:Cook, 1987, pp.2-3
333:Grove Music Online
95:Drei Klavierstücke
379:People from Užice
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127:Ivan and the Drum
119:Eduard van Beinum
115:David and Goliath
83:Eduard Steuermann
71:Kingdom of Serbia
65:Reti was born in
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336:. Retrieved
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227:Music Review
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138:Egon Wellesz
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75:music theory
73:and studied
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55:Richard Réti
52:chess master
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20:Rudolph Reti
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374:1957 deaths
369:1885 births
338:16 November
275:Archives at
43:Rudolf Reti
32:Рудолф Рети
363:Categories
268:References
103:Schoenberg
87:Schoenberg
79:musicology
61:Biography
37:romanized
284:Location
235:(1958).
203:Writings
185:Schenker
165:thematic
134:Das Echo
121:and the
107:Martinu
97:Op.11.
69:in the
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28:Serbian
22:, also
294:Source
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91:atonal
67:Užice
340:2015
237:ISBN
216:ISBN
150:Yale
24:Réti
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