Musical Expression in Transforming Cultures: A Comparative Study of Rudolf Kolisch's Performance Practice (completed)

How did the violinist Rudolf Kolisch performance style develop from its origins in Viennese modernism to its encounter with American culture during exile, and finally, the German avantgarde venues after World War II?

This project examines the historical formation of Kolisch's concept of musical expression, as it was articulated in his practice as performer and teacher and permanently rephrased in theoretical terms in his performance theory. 

Four men play on violin, cello among and more instruments. Photo.

Kolisch Quartett

About the project

Taking comparative analyses of Kolisch's recordings as a point of departure, this project's aim is to assess the expressive practice of an individual performer responding to shifting cultural contexts. This project's aim is to reassess the understanding of the Schoenberg school's aesthetic concepts and interpretive practice by analysing Kolisch's recordings of works from Beethoven, Schubert, Schönberg, and Webern.


The project is jointly funded by The Research Council of Norway under the funding scheme for independent projects in the humanities (FRIHUM). The project runs from 2009-2012.

Tags: music history, music aesthetics, 20th century performance, emigration studies, Rudolf Kolisch, Arnold Schönberg, history of musicology
Published Apr. 23, 2010 1:17 PM - Last modified Apr. 20, 2020 1:55 PM