By Juliane Brand, Christopher Hailey
Arnold Schoenberg (1874-1951) is a pivotal determine of musical modernism. The "father of serialism" has motivated 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 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 lifestyles and works, which endure witness to a number of the defining stories of our time. This assortment by way of top Schoenberg students is an interdisciplinary exam of the ancient, aesthetic, and highbrow concerns that shaped Schoenberg's artistic character 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 experience of ethnic, non secular, and cultural id. 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 proposal and perform.
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This can be a replica of a ebook released earlier than 1923. This e-book can have occasional imperfections similar to lacking or blurred pages, negative photographs, errant marks, and so on. that have been both a part of the unique artifact, or have been brought through the scanning procedure.
Additional info for Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture
Jacob Katz, From Prejudice to Destruction: Antisemitism 1700-1933 (Cambridge: Harvard University Press, 1980), 81. 11. Schoenberg to Kandinsky, 20 July 1922, Schoenberg Letters, no. 42, 70-71, esp. 71. 12. Schoenberg to Kandinsky, 20 April 1923, Schoenberg Letters, no. 63, 88. 13. Still today Louis Farrakhan draws upon the alleged authority of the "Protocols" for his absurd charges of a worldwide Jewish conspiracy. At the time Henry Ford's Dearborn Independent took care of that sort of thing. When the evidence of forgery turned out to be incontrovertible, Ford simply stopped printing new accusations and reprinted the old ones.
15. Schoenberg, "Tonality and Form," Style and Idea, 257; see also the scathing comment on page 97 about "the Viennese conductor" who rejected the op. 9. < previous page page_20 next page > < previous page page_21 next page > Page 21 16. David Josef Bach, "Feuilleton: Der neuste Fall Schoenberg," Arbeiterzeitung (Vienna), 2 January 1909, 1-2. 17. The 1911 Harmonielehre is perhaps the most significant example. One also thinks of the essays on Brahms and Mahler. " See also "Ein Interview" in Stil und Gedanke.
Why, however, of all the great talents of his generation this largely self-taught descendant of a modest Austro-Hungarian Jewish family should have been the one to alter the course of twentieth-century music in such decisive ways remains a rather obvious, though admittedly complex, question that has hardly been seriously asked, let alone meaningfully answered. Indeed, were it not for some strikingly self-revelatory statements in Schoenberg's own published writings, what enabled him to pursue his lonely path so doggedly against all historical and purely aesthetic odds might yet be shrouded in even greater mystery than it undoubtedly is.