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 encouraged 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 the various defining stories of our time. This assortment by means of prime Schoenberg students is an interdisciplinary exam of the ancient, aesthetic, and highbrow matters that shaped Schoenberg's inventive character and proceed to steer our reaction to the modernist legacy of the 1st 1/2 this century. The book's first part, "Contexts," investigates Schoenberg's feel of ethnic, non secular, 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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Extra info for Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture

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Assimilated Jewish music historians, beginning with Gustav Mahler's close friend Guido Adler, readily fell into line, if only because the study of a Christian art did seem to call for Christian expertise and perspectives. Christianity had, after all, seen to it that Jews remained excluded from European musical life well into the nineteenth century. A musical past that was for all practical purposes judenrein hardly cried out for any intrinsically Jewish input. Then, too, historians almost by definition rely extensively on documentary evidence.

Inexplicably, though, he referred to that brief, if decisive, episode as a pogrom. 18 By then, to be sure, the name of the Cossack leader Petlura had become a symbol of rape, burning, looting, and the collective death of those who found themselves in the path of the undisciplined hordes roaming the Eastern European countryside in search of Jewish victims. On 16 June 1921, about the time Schoenberg and his family vainly sought peace and quiet in Mattsee, Koitschitz, a town near Minsk, suffered a grievous extension of the pogroms already visited upon Homel, Vitebsk, and Minsk itself.

29. See Leon Botstein, Judentum und Modernität (Vienna: Böhlau Verlag, 1991), 126-148. 30. See Michael Mäckelmann, Arnold Schoenberg und das Judentum: Der Komponist und sein religiöses, nationales und politisches Selbstverständnis nach 1921 (Hamburg: Verlag der Musikalienhandlung Karl Dieter Wagner, 1984). 31. See, for example, the impression made by Kraus on Berg in early 1915 during Kraus's tireless effort to expose the role of the press in glorifying the war effort; Berg-Schoenberg Correspondence, 229-230.

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