PRESS AND BLOG RECOGNITION AND ENDORSEMENTS
“Some of the [...] “history” of [Schönberg's 2nd String Quartet] has been debunked by Raymond Coffer.” Randol Schoenberg (Arnold Schönberg’s grandson). Click on his post, Schoenberg on the auction block at Schoenblog.com, to read more.
“It seems we were all wrong. [...] A doctoral dissertation by Raymond Coffer at the University of London [...] proves quite conclusively that Schoenberg had finished [his Second String] Quartet before he discovered Mathilde’s adultery.” Norman Lebrecht, Slipped Disc, 30 May 2012.
“Raymond Coffer demonstrates that [Schönberg's] atonal leap [in his Second String Quartet] cannot have been triggered by adultery.” Norman Lebrecht, Standpoint, June 2012.
From two generous pieces written by the author and music critic Norman Lebrecht in May/June 2012. To read these two articles in full, plus others, please click on the blue titles:
“Was it really sex that turned Arnold Schoenberg atonal?” a generous summary of the findings of my thesis written by Norman Lebrecht for his arts and culture blog, Slipped Disc, on 30 May 2013.
“Legend of the Lovelorn Lodger” a comprehensive article by Lebrecht for the magazine, Standpoint, June 2012, in which he magnanimously writes that my evidence regarding Schönberg’s leap to atonality in his Second String Quartet is “incontrovertible”
”Gerstl Laid Bare” written by Gavin Plumley, and published (1 June 2012) in his excellent blog, Entartete Musik: “Debunking myths, providing newly discovered information, Coffer’s findings are essential reading for anyone interested in the Viennese fin de siècle and its fallout. [...] Coffer’s theory is deeply compelling.”
“Return to the blogosphere (Luft von anderem Planeten?)” published by Iain S. Gillis on 15 June 2012 in his informative music and musicology blog, musicalProse in which he writes: “Coffer’s website is an outstanding resource, fascinating and well-laid out.”
“The sex behind the scenes of a music revolution”, an article written by Tim Smith, music critic, Baltimore Sun, Sunday 20 February 2005, on the occasion of my paper, given at the Peabody Conservatory, regarding Berg’s Chamber Concerto