By Juliane Brand, Christopher Hailey
Arnold Schoenberg (1874-1951) is a pivotal determine of musical modernism. The "father of serialism" has encouraged approximately each significant composer of this century, and the assumption of Schoenberg, now wild-eyed radical, now embattled moralist, now lonely prophet, is woven into the mythos of smooth artwork. what's extra, the websites of his specialist activityfin de sicle Vienna, the Berlin of the Weimar Republic, and his "exile to paradise" in Los Angelesbring domestic the consultant caliber of his lifestyles and works, which endure witness to the various defining reports of our time. This assortment by way of major Schoenberg students is an interdisciplinary exam of the ancient, aesthetic, and highbrow concerns that shaped Schoenberg's artistic personality and proceed to steer our reaction to the modernist legacy of the 1st half this century. The book's first part, "Contexts," investigates Schoenberg's feel of ethnic, spiritual, and cultural identification. the second one part, "Creations," specializes in particular works and the interaction among inventive impulse and aesthetic articulation. the ultimate part, "Connections," addresses the connection of Schoenberg's legacy to present-day notion and perform.
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Additional info for Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture
42. Compare Schenker's 1894 description of Richter with Ludwig Karpath's 1898 essay. See Federhofer, Schenker als Essayist, 79; and Ludwig Karpath, "Hans Richter," in 50 Jahre Hoftheater: Geschichte der beiden Wiener Hoftheater unter der Regierungszeit des Kaisers Franz Josef I, ed. Rudolph Lothar and Julius Stern (Vienna: Steyermühl, 1898), 81-83. Schenker also wrote an essay in 1901 critical of Mahler's performance (with reorchestrations) of Beethoven's Ninth Symphony; see Schenker als Essayist, 259-268.
Not only did composers begin to subordinate sound to word, but the audience sought to understand all music as if it were little more than translations into sound. Even performers shaped renditions of historical repertoire as if the music had been organized around an extramusical narrative a secret linguistic and visual program. This procedure actually blocked the audience's ability to listen actively, since if true musical appreciation were cultivated each individual would not be reduced to passively recognizing a program associated with a piece of music but would be enabled to listen so that the temporal experience of music could be profoundly personalized to fit the moment and the hearer's imagination.
The critical apparatus is designed to refer readers to the sources. 1. The parallel is not precise, but it is appropriate. See Werner J. Schweiger, "Zwischen Anerkennung und Verteuflung: Zur Rezeptionsgeschichte von Kokoschkas Frühwerk," in Oskar Kokoschka: Symposion, ed. Erika Patka (Salzburg: Residenz Verlag, 1986), 114-126. 2. This selection of premieres is based on the level of the public controversy they raised. The January 1910 concert at the Ehrbar Saal in which the op. 15 Stefan George cycle and op.
Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture by Juliane Brand, Christopher Hailey
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