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8 Brunner, Lance W. Notes 38, no. 2 (1981): 424. doi:10.2307/939895. 9 Rochberg, 227. 10 Rochberg, 227. 11 Rochberg, 228. 12 Rochberg, 228. Critics did point to this as a structural flaw in the Viola Sonata, writing that the piece was “curiously unbalanced.” See Dickinson, Peter. Music & Letters 65, no. 1 (1984): 130. http://www.jstor.org/ stable/736388. 13 Dixon, 24-26. 14 A note on Rochberg’s Octet : Rochberg referred to this as “the last in a long series of varied chamber works which have occupied me over the last decade, works in which I explore the possibilities of a larger palette of expressive means than allowed by modernism per se. ” While he is likely referring mainly to the Concord Quartets with this quote, the way he frames the timeline would include the Viola Sonata as among these chamber works. See Dixon, 103. 15 Dixon, xxxix. 16 Dixon, 60.

17 For an example of Rochberg’s ongoing debate with the avant-garde, see his 1984 debate with Jonathan Kramer in Critical Inquiry : George Rochberg, “Can the Arts Survive Modernism? (A Discussion of the Characteristics, History, and Legacy of Modernism).” Critical Inquiry 11, no. 2 (1984): 317-40, and Jonathan D. Kramer, “Can Modernism Survive George Rochberg?” Critical Inquiry 11, no. 2 (1984): 341-54. For articles championing and re-assessing Rochberg’s progressive bonafides, see Jay Reise, “Rochberg the Progressive,” Perspectives of New Music 19, No. 1/2 (Autumn, 1980–Summer, 1981): 395–407, and Robert Gross. “Rochberg the Progressive, Revisited: An Analysis of the Third String Quartet.” Perspectives of New Music 51, no. 2 (2013): 192-241.

Journal of the American Viola Society / Vol. 35, No. 1, Spring 2019

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