Constructive Dissonance: Arnold Schoenberg and the by Juliane Brand, Christopher Hailey

By Juliane Brand, Christopher Hailey

Arnold Schoenberg (1874-1951) is a pivotal determine of musical modernism. The "father of serialism" has stimulated approximately each significant composer of this century, and the belief of Schoenberg, now wild-eyed radical, now embattled moralist, now lonely prophet, is woven into the mythos of glossy paintings. what's extra, the websites of his expert activityfin de sicle Vienna, the Berlin of the Weimar Republic, and his "exile to paradise" in Los Angelesbring domestic the consultant caliber of his existence and works, which endure witness to many of the defining reviews of our time. This assortment via prime Schoenberg students is an interdisciplinary exam of the historic, aesthetic, and highbrow matters that shaped Schoenberg's inventive personality and proceed to persuade our reaction to the modernist legacy of the 1st half this century. The book's first part, "Contexts," investigates Schoenberg's feel of ethnic, non secular, and cultural id. the second one part, "Creations," specializes in particular works and the interaction among artistic impulse and aesthetic articulation. the ultimate part, "Connections," addresses the connection of Schoenberg's legacy to present-day proposal and perform.

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Extra info for Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture

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The best source for Viennese criticism of Mahler's music is Henry-Louis de La Grange, Gustav Mahler: Vienna: The Years of Challenge (1897-1904) (Oxford: Oxford University Press, 1995); for Strauss, see Leon Botstein, "Richard Strauss and the Viennese Critics (1896-1924)," in Richard Strauss and His World, ed. : Princeton University Press, 1993). 7. D. , Harvard University, 1985), 1,184-1,199. 8. See Ulrich Thieme, Studien zum Jugendwerk Arnold Schoenberg: Einflüsse und Wandlungen (Regensburg: Bosse Verlag, 1979), 40-53.

Weaning listeners from descriptive and programmatic narratives could reveal to them "an entire metaphysical" realm hidden in music. The simple formulas of music teachers were at fault. The desire on the part of amateurs to use music to express individuality was thwarted by a mechanical definition of technique that fostered a mindless dexterity. In order to match the soul of the listener with the secrets of the work of art, a cleansing of the historical surface of the classical tradition had to be achieved.

Eventually, not to be left behind, ranking French army officers staged the bogus treason trial of Captain Henri Dreyfus that turned the Viennese journalist and playwright Theodor Herzl, once like Gustav Mahler a proud member of Vienna's pan-German Wagner < previous page page_26 next page > < previous page page_27 next page > Page 27 Association, into the progenitor of modern Zionism. Other Jewish activists meanwhile carried their fight against domestic anti-Semitism straight into the Austrian political arena.

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