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 sleek artwork. what's extra, the websites of his specialist 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 undergo witness to a few of the defining reviews of our time. This assortment via best Schoenberg students is an interdisciplinary exam of the historic, aesthetic, and highbrow matters that shaped Schoenberg's inventive personality 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, spiritual, 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 inspiration and perform.
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8. See Ulrich Thieme, Studien zum Jugendwerk Arnold Schoenberg: Einflüsse und Wandlungen (Regensburg: Bosse Verlag, 1979), 40-53. 9. Alma Mahler, Gustav Mahler: Memories and Letters, ed. Donald Mitchell (New York: Viking Press, 1969), 77, 111-112. 10. See the text of Schoenberg's response to Karpath, and Kraus's supportive contextualization, in Die Fackel 272273 (15 February 1909), 34-35. 11. Josef Rufer, The Works of Arnold Schoenberg, 147-148. 12. See Simon McVeigh, Concert Life in London from Mozart to Haydn (Cambridge: Cambridge University Press, 1993).
It was a family magazine ("Unterhaltungsblatt für die Familie") with a sheet-music insert in each issue, in addition to articles, poems, essays, and short stories. 34. See Helmut Federhofer, Heinrich Schenker: Nach Tagebüchern und Briefen in der Oswald Jonas Memorial Collection (Hildesheim: Georg Olms Verlag, 1985), and Nicolas Meeus, Heinrich Schenker: Une introduction (Liege: Mardaga, 1993). See also Allan Keiler's parallel discussion in his "The Origins of Schenker's Thought: How Man Is Musical," Journal of Music Theory 33/2 (fall 1989), 273-298.
21. See Nikolaus Vielmetti, "Lorenzo Da Ponte Emanuele Conegliano," Orbis Musica 10 (1991/1992), 201. 22. Schoenberg, Harmonielehre, vii; Schoenberg, Theory of Harmony, 2. 23. Schoenberg to Kandinsky, 4 May 1923, Schoenberg Letters, no. 64, 92-93. 24. These are the concluding words of Schoenberg's Der biblische Weg. < previous page page_34 next page > < previous page page_35 next page > Page 35 Three Evolving Perceptions of Kandinsky and Schoenberg: Toward the Ethnic Roots of the "Outsider" Peg Weiss In a letter written two weeks after witnessing what his new friend the Russian-born artist Vasili Kandinsky might have called a "thundering collision of worlds," Franz Marc linked the names of Kandinsky and Schoenberg with observations on primitive art and "Oriental" music, which, he said, had retained its intrinsic "primitive" characteristics.