@incollection{Schmidt_2015a,
 abstract = {What did Webern motivate to relate sounding music to a real mountain landscape and the artificial imagery of Segantini’s »Alpentriptychon«? Why didn’t he make the apparent reference to Segantini as in his »Form-Entwurf« public in the subsequent autograph of the string quartet? The essay follows three traces seeking answers to these questions: First it explores the relevance of varieties of monism, which belonged directly to Weberns’s living environment, for his compositional aesthetic. Then it considers Webern’s studies with his teacher Arnold Schoenberg. Finally, based on some analytically detailed observations on Webern’s compositional practice it takes a closer look at his reception of Beethoven and the concept of the sublime. It is demonstrated how Segantini’s images as a representational medium for Webern mark a strategic transitional point between reality and art – in order to be absorbed in the ephemeral musical movement.},
 author = {Schmidt, Matthias},
 title = {{Fl{\"u}chtige Bilder. {\"U}ber Kunst und Wirklichkeit in Weberns 'Segantini-Quartett'}},
 pages = {347–363},
 publisher = {Laaber},
 series = {Musiktheorie},
 editor = {Ahrend, Thomas and Schmidt, Matthias},
 booktitle = {{Anton Webern und Giovanni Segantini}},
 year = {2015},
 address = {Laaber},
 volume = {30/4}
}

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