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German modernism : music and the arts PDF

333 Pages·2005·3.022 MB·English
by  FrischWalter
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German Modernism california studies in 20th-century music Richard Taruskin, General Editor 1. Revealing Masks: Exotic Influences and Ritualized Performance in Modernist Music Theater,by W. Anthony Sheppard 2. Russian Opera and the Symbolist Movement,by Simon Morrison 3. German Modernism: Music and the Arts, by Walter Frisch German Modernism music and the arts Walter Frisch university of california press berkeley los angeles london The publisher gratefully acknowledges the generous contribution to this book provided by the Ahmanson Foundation Humanities Endowment Fund ofthe University of California Press Associates. University ofCalifornia Press Berkeley and Los Angeles, California University ofCalifornia Press, Ltd. London, England © 2005 by The Regents ofthe University ofCalifornia Library ofCongress Cataloging-in-Publication Data Frisch, Walter, 1951–. German modernism : music and the arts / Walter Frisch. p. cm. — (California studies in 20th-century music ; 3) Includes bibliographical references and index. ISBN 0-520-24301-3 (cloth : alk. paper). 1.Music—Germany—19th century—History and criticism. 2.Music—Germany—20th century— History and criticism. 3.Modernism (Art)— Germany. 4.Art and music. I.Title. II.Series. ML275.F75 2005 780'.943'09034—dc22 2004012678 Manufactured in the United States ofAmerica 14 13 12 11 10 09 08 07 06 05 10 9 8 7 6 5 4 3 2 1 The paper used in this publication meets the minimum requirements ofANSI/NISO Z39.48–1992 (R 1997) (Permanence ofPaper). for my family This page intentionally left blank contents acknowledgments ix introduction 1 1 / Ambivalent Modernism: Perspectives from the 1870s and 1880s 7 Wagner and German Modernism . Crosscurrents in Wilhelmine Germany . Nietzsche and Wagner . Nietzsche’s Neoclassical Turn . Nietzsche’s “German Depth,” “Music of the South,” and the “Grand Style” . Wagner’s Parsifaland Ambivalent Modernism 2 / German Naturalism 36 Naturalism: Definitions and Perspectives . Naturalism and Wagner . Declamatory Naturalism . German Verismo . Tiefland . Mona Lisa . Der ferne Klang . Salomeand Elektra 3 / Convergences: Music and the Visual Arts 88 Adorno’s “Convergence” . The Total Artwork . Max Klinger . The Brahms Fantasy . Symbolism, Abstraction, Jugendstil . Music and Jugendstil . The Theories of August Endell . The Blue Rider . The Schoenberg Concert of January 2, 1911 . Schoenberg’s Music . Kandinsky’s Impression III . Thoughts in Conclusion 4 / Bach, Regeneration, and Historicist Modernism 138 Bach as Healthy, Bach as Healer . Bach Reception around 1900 . Bach and Music Theory . Reger’s Historicist Modernism . Reger’s Organ Suite, op. 16 . Reger’s Bach Variations,op. 81 . Reger’sPiano Concerto, op. 114 . Busoni’s Bach . Toward Irony: Mahler and Bachian Counterpoint 5 / Ironic Germans 186 Thomas Mann, Wagner, and Irony . Buddenbrooks . Mann’s Tristan . Parody . Blood of the Wälsungs . Mahler’s Irony 6 / “Dancing in Chains”: Strauss, Hofmannsthal, Pfitzner, and Their Musical Pasts 214 Strauss and Hofmannsthal . TristaninDer Rosenkavalier . Ariadne auf Naxos . TheAriadne Year 1911 . Mozart, Wagner, and Ariadne . The Character of Ariadne . Ariadneas Hypertext . Pfitzner’s Regressive Modernism . Epilogue: “Our Play Has Long Ago Finished Its Run” notes 257 bibliography 293 index 309 acknowledgments Work on this project began as long ago as the late 1980s, in various gradu- ate seminars and an undergraduate course (called Music in Fin-de-Siècle Europe) taught at Columbia University. It continued during a sabbatical year in Germany in 1990–91 under the auspices ofthe Alexander von Hum- boldt-Stiftung, and reached near-fulfillment during a rewarding year spent as a Fellow at the Center for Scholars and Writers at the New York Public Library in 2000–2001. The director of the Center at that time, Peter Gay, is far more than an éminence grise in German cultural-historical studies; he might justly be called the éminence platinée,so authoritative have been his achievements and his insights. Peter proved a wonderful interlocutor and counselor for me during my year at the Center. I also profited greatly from discussions with the other fourteen fellows, several ofwhom were both enthusiastic and knowledgeable about the musical repertory treated here. The staª at NYPL, at both the Humanities and Social Sciences Library and the Performing Arts Library, was always responsive and helpful; and these collections are without equal in the United States for their richness in the area of Austro-German modernism. I am grateful to Columbia University for the release time over many years and perhaps even more for the “engaged” time spent in stimulating dis- cussions with students and colleagues, both within and outside the class- room. As sometime chair and long-standing board member of Columbia’s ix

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