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SchoenbergandRedemption SchoenbergandRedemptionpresentsanewwayofunderstanding Schoenberg’sstepintoatonalityin1908.Reconsideringhisthresholdand earlyatonalworks,aswellashistheoreticalwritingsandarangeofprevi- ouslyunexploredarchivaldocuments,JulieBrownarguesthatSchoenberg’s revolutionarystepwasinpartaresponsetoWagner’snegativecharges concerningtheJewishinfluenceonGermanmusic.In1898andespecially 1908Schoenberg’sJewishidentitycameintoconfrontationwithhiscom- mitmenttoWagnerianmodernismtoprovideanimpetustohisradical innovations.Whileacknowledgingthebroaderturn-of-the-century Viennesecontext,Browndrawsspecialattentiontocontinuitiesbetween Schoenberg’sworkandthatofViennesemoralphilosopherOttoWeininger, himselfanideologicalWagnerian.Shealsoconsiderstheafterlifeofthe composer’sideologicalpositionwhen,inthelate1920sandearly1930s,the conceptof‘redeeming’GermancultureofitsJewishelementstookavery differentturn. JULIEBROWNisAssociateProfessoratRoyalHolloway,UniversityofLondon. Shehaspublishedarticlesandbooksonearlytwentieth-centurymusic, includingBartókandtheGrotesque:StudiesinModernity,theBodyand ContradictioninMusic(2007);hereditedcollectionWesternMusicandRace (2007)wasawardedtheAmericanMusicologicalSociety’sRuthA.Solie Award(2008).Shealsopublishesonscreenmusic,withanincreasing specialisminthesonicdimensionofearlyfilmexhibition:sheiscontributing editor(withAnnetteDavison)ofTheSoundsoftheSilentsinBritain(2013). NewPerspectivesinMusicHistoryandCriticism Generaleditors:JeffreyKallberg,AnthonyNewcombandRuthSolie Thisseriesexplorestheconceptualframeworksthatshapeorhaveshapedthe waysinwhichweunderstandmusicanditshistory,andaimstoelaborate structuresofexplanation,interpretation,commentaryandcriticismwhich makemusicintelligibleandwhichprovideabasisforargumentabout judgementsofvalue.Theintellectualscopeoftheseriesisbroad.Some investigationswilltreat,forexample,historiographicaltopics,otherswill applycross-disciplinarymethodstothecriticismofmusic,andtherewillalso bestudieswhichconsidermusicinitsrelationtosociety,cultureandpolitics. Overall,theserieshopestocreateagreaterpresenceformusicintheongoing discourseamongthehumansciences. Publishedtitles LeslieC.DunnandNancyA.Jones(eds.),EmbodiedVoices:Representing FemaleVocalityinWesternCulture DowningA.Thomas,MusicandtheOriginsofLanguage:Theoriesfromthe FrenchEnlightenment ThomasS.Grey,Wagner’sMusicalProse DanielK.L.Chua,AbsoluteMusicandtheConstructionofMeaning AdamKrims,RapMusicandthePoeticsofIdentity AnnetteRichards,TheFreeFantasiaandtheMusicalPicturesque RichardWill,TheCharacteristicSymphonyintheAgeofHaydnand Beethoven ChristopherMorris,ReadingOperaBetweentheLines:OrchestralInterludes andCulturalMeaningfromWagnertoBerg EmmaDillon,MedievalMusic-Makingandthe‘RomandeFauvel’ DavidYearsley,BachandtheMeaningsofCounterpoint DavidMetzer,QuotationandCulturalMeaningintheTwentiethCentury AlexanderRehding,HugoRiemannandtheBirthofModernMusical Thought DanaGooley,TheVirtuosoLiszt BonnieGordon,Monteverdi’sUnrulyWomen:ThePowerofSonginEarly ModernItaly GaryTomlinson,TheSingingoftheNewWorld:IndigenousVoiceintheEra ofEuropeanContact MatthewGelbart,TheInventionofFolkMusicandArtMusic:Emerging CategoriesfromOssiantoWagner OliviaA.Bloechl,NativeAmericanSongattheFrontiersofEarlyModern Music GiuseppeGerbino,MusicandtheMythofArcadiainRenaissanceItaly RogerFreitas,PortraitofaCastrato:Politics,Patronage,andMusicintheLife ofAttoMelani GundulaKreuzer,VerdiandtheGermans:FromUnificationtotheThird Reich HollyWatkins,MetaphorsofDepthinGermanMusicalThought:From E.T.A.HoffmanntoArnoldSchoenberg DaviniaCaddy,TheBalletsRussesandBeyond:MusicandDanceinBelle- ÉpoqueParis BrigidCohen,StefanWolpeandtheAvant-GardeDiaspora NicholasMathew,PoliticalBeethoven JulieBrown,SchoenbergandRedemption Schoenberg and Redemption Julie Brown UniversityPrintingHouse,CambridgeCB28BS,UnitedKingdom CambridgeUniversityPressispartoftheUniversityofCambridge. ItfurtherstheUniversity’smissionbydisseminatingknowledgeinthepursuitof education,learningandresearchatthehighestinternationallevelsofexcellence. www.cambridge.org Informationonthistitle:www.cambridge.org/9780521550352 ©CambridgeUniversityPress2014 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2014 PrintedintheUnitedKingdombyTJInternationalLtd.PadstowCornwall AcataloguerecordforthispublicationisavailablefromtheBritishLibrary LibraryofCongressCataloguinginPublicationdata Brown,Julie(JulieA.),1963–,author. Schoenbergandredemption/JulieBrown. pages cm.–(Newperspectivesinmusichistoryandcriticism) Includesbibliographicalreferencesandindex. ISBN978-0-521-55035-2 1. Schoenberg,Arnold,1874–1951–Criticismandinterpretation. 2. Redemption. I. Title. ML410.S283B76 2014 780.92–dc23 2013040439 ISBN978-0-521-55035-2Hardback CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracyof URLsforexternalorthird-partyinternetwebsitesreferredtointhispublication, anddoesnotguaranteethatanycontentonsuchwebsitesis,orwillremain, accurateorappropriate. ForŠtěpánKaňa So the time of the emancipation had come, and every young Jew at that time ... longedtoberedeemedfrombeingheldinastateofcontemptforwhichhewasnotto blame, and because he wished to be accepted into the community of revered and admiredhumanbeingswhomheregardedashigherbeings... Thehopefor‘redemption’wascruellydisappointed... Manyofushavebecomeconsciousofourguiltonlythroughourmisery[Not],and only few among us can bring ourselves to recognize it completely, to confess to it fully,andtoattempttoexonerateourselvesbyendeavouringtoreverseeverything [allesrückgängigzumachen]. (Schoenberg,‘EveryyoungJew’,2February1934)

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Schoenberg and Redemption presents a new way of understanding Schoenberg's step into atonality in 1908. Reconsidering his threshold and early atonal works, as well as his theoretical writings and a range of previously unexplored archival documents, Julie Brown argues that Schoenberg's revolutionary
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SchoenbergandRedemption SchoenbergandRedemptionpresentsanewwayofunderstanding Schoenberg’sstepintoatonalityin1908.Reconsideringhisthresholdand earlyatonalworks,aswellashistheoreticalwritingsandarangeofprevi- ouslyunexploredarchivaldocuments,JulieBrownarguesthatSchoenberg’s revolutionarystepwasinpartaresponsetoWagner’snegativecharges concerningtheJewishinfluenceonGermanmusic.In1898andespecially 1908Schoenberg’sJewishidentitycameintoconfrontationwithhiscom- mitmenttoWagnerianmodernismtoprovideanimpetustohisradical innovations.Whileacknowledgingthebroaderturn-of-the-century Viennesecontext,Browndrawsspecialattentiontocontinuitiesbetween Schoenberg’sworkandthatofViennesemoralphilosopherOttoWeininger, himselfanideologicalWagnerian.Shealsoconsiderstheafterlifeofthe composer’sideologicalpositionwhen,inthelate1920sandearly1930s,the conceptof‘redeeming’GermancultureofitsJewishelementstookavery differentturn. JULIEBROWNisAssociateProfessoratRoyalHolloway,UniversityofLondon. Shehaspublishedarticlesandbooksonearlytwentieth-centurymusic, includingBartókandtheGrotesque:StudiesinModernity,theBodyand ContradictioninMusic(2007);hereditedcollectionWesternMusicandRace (2007)wasawardedtheAmericanMusicologicalSociety’sRuthA.Solie Award(2008).Shealsopublishesonscreenmusic,withanincreasing specialisminthesonicdimensionofearlyfilmexhibition:sheiscontributing editor(withAnnetteDavison)ofTheSoundsoftheSilentsinBritain(2013). NewPerspectivesinMusicHistoryandCriticism Generaleditors:JeffreyKallberg,AnthonyNewcombandRuthSolie Thisseriesexplorestheconceptualframeworksthatshapeorhaveshapedthe waysinwhichweunderstandmusicanditshistory,andaimstoelaborate structuresofexplanation,interpretation,commentaryandcriticismwhich makemusicintelligibleandwhichprovideabasisforargumentabout judgementsofvalue.Theintellectualscopeoftheseriesisbroad.Some investigationswilltreat,forexample,historiographicaltopics,otherswill applycross-disciplinarymethodstothecriticismofmusic,andtherewillalso bestudieswhichconsidermusicinitsrelationtosociety,cultureandpolitics. Overall,theserieshopestocreateagreaterpresenceformusicintheongoing discourseamongthehumansciences. Publishedtitles LeslieC.DunnandNancyA.Jones(eds.),EmbodiedVoices:Representing FemaleVocalityinWesternCulture DowningA.Thomas,MusicandtheOriginsofLanguage:Theoriesfromthe FrenchEnlightenment ThomasS.Grey,Wagner’sMusicalProse DanielK.L.Chua,AbsoluteMusicandtheConstructionofMeaning AdamKrims,RapMusicandthePoeticsofIdentity AnnetteRichards,TheFreeFantasiaandtheMusicalPicturesque RichardWill,TheCharacteristicSymphonyintheAgeofHaydnand Beethoven ChristopherMorris,ReadingOperaBetweentheLines:OrchestralInterludes andCulturalMeaningfromWagnertoBerg EmmaDillon,MedievalMusic-Makingandthe‘RomandeFauvel’ DavidYearsley,BachandtheMeaningsofCounterpoint DavidMetzer,QuotationandCulturalMeaningintheTwentiethCentury AlexanderRehding,HugoRiemannandtheBirthofModernMusical Thought DanaGooley,TheVirtuosoLiszt BonnieGordon,Monteverdi’sUnrulyWomen:ThePowerofSonginEarly ModernItaly GaryTomlinson,TheSingingoftheNewWorld:IndigenousVoiceintheEra ofEuropeanContact MatthewGelbart,TheInventionofFolkMusicandArtMusic:Emerging CategoriesfromOssiantoWagner OliviaA.Bloechl,NativeAmericanSongattheFrontiersofEarlyModern Music GiuseppeGerbino,MusicandtheMythofArcadiainRenaissanceItaly RogerFreitas,PortraitofaCastrato:Politics,Patronage,andMusicintheLife ofAttoMelani GundulaKreuzer,VerdiandtheGermans:FromUnificationtotheThird Reich HollyWatkins,MetaphorsofDepthinGermanMusicalThought:From E.T.A.HoffmanntoArnoldSchoenberg DaviniaCaddy,TheBalletsRussesandBeyond:MusicandDanceinBelle- ÉpoqueParis BrigidCohen,StefanWolpeandtheAvant-GardeDiaspora NicholasMathew,PoliticalBeethoven JulieBrown,SchoenbergandRedemption Schoenberg and Redemption Julie Brown UniversityPrintingHouse,CambridgeCB28BS,UnitedKingdom CambridgeUniversityPressispartoftheUniversityofCambridge. ItfurtherstheUniversity’smissionbydisseminatingknowledgeinthepursuitof education,learningandresearchatthehighestinternationallevelsofexcellence. www.cambridge.org Informationonthistitle:www.cambridge.org/9780521550352 ©CambridgeUniversityPress2014 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2014 PrintedintheUnitedKingdombyTJInternationalLtd.PadstowCornwall AcataloguerecordforthispublicationisavailablefromtheBritishLibrary LibraryofCongressCataloguinginPublicationdata Brown,Julie(JulieA.),1963–,author. Schoenbergandredemption/JulieBrown. pages cm.–(Newperspectivesinmusichistoryandcriticism) Includesbibliographicalreferencesandindex. ISBN978-0-521-55035-2 1. Schoenberg,Arnold,1874–1951–Criticismandinterpretation. 2. Redemption. I. Title. ML410.S283B76 2014 780.92–dc23 2013040439 ISBN978-0-521-55035-2Hardback CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracyof URLsforexternalorthird-partyinternetwebsitesreferredtointhispublication, anddoesnotguaranteethatanycontentonsuchwebsitesis,orwillremain, accurateorappropriate. ForŠtěpánKaňa So the time of the emancipation had come, and every young Jew at that time ... longedtoberedeemedfrombeingheldinastateofcontemptforwhichhewasnotto blame, and because he wished to be accepted into the community of revered and admiredhumanbeingswhomheregardedashigherbeings... Thehopefor‘redemption’wascruellydisappointed... Manyofushavebecomeconsciousofourguiltonlythroughourmisery[Not],and only few among us can bring ourselves to recognize it completely, to confess to it fully,andtoattempttoexonerateourselvesbyendeavouringtoreverseeverything [allesrückgängigzumachen]. (Schoenberg,‘EveryyoungJew’,2February1934)

Description:
Schoenberg and Redemption presents a new way of understanding Schoenberg's step into atonality in 1908. Reconsidering his threshold and early atonal works, as well as his theoretical writings and a range of previously unexplored archival documents, Julie Brown argues that Schoenberg's revolutionary
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