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Ernst Krenek has been described as a “one-man history of twentieth-century music.” His vast compositional output encompasses many of its extremes and expresses many of its contradictions. Few have attempted, however, to contextualize Krenek’s compositional output because our understanding of classical music in the first half of the twentieth century still largely remains focused on the music of a few canonical figures. Responding to renewed interest from performers in Krenek’s work, particularly his operas, Peter Tregear’s Ernst Krenek and the Politics of Musical Style addresses this gap in the scholarly literature and makes an important contribution to our comprehension of the ways in which his music reflected and informed broader social and political debates in Austria and Germany at the time. Focusing on Krenek’s compositional path from the eclectic musical language of Jonny spielt auf to the austere twelve-tone technique of Karl V, Tregear provides an historical and critical context to this most historically significant period of Krenek’s creative life. His study also enriches our understanding of many of Krenek’s contemporaries, such as Alban Berg and Arnold Schoenberg. This book should interest students, scholars and practitioners with an interest in modern opera, and contemporary classical music as well as early-20th-century German history more generally.
Music, theatre and politics have maintained a long-standing relationship that continues to be strong. The contributions in this volume bridge the conventional chronological division between 'late Romantic' and 'modern' music to thematize a wide array of i
This is the first book to study the cultural impact of the Armistice of 11 November 1918. It contains 14 new essays from scholars working in literature, music, art history and military history. The Armistice brought hopes for a better future, as well as sadness, disappointment and rage. Many people in all the combatant nations asked hard questions about the purpose of the war. These questions are explored in complex and nuanced ways in the literature, music and art of the period. This book revisits the silence of the Armistice and asks how its effect was to echo into the following decades. The essays are genuinely interdisciplinary and are written in a clear, accessible style.
This is the first book-length study of the genre of 'artist-opera', in which the work's central character is an artist who is uncomfortable with his place in the world. It investigates how three such operas (Pfitzner's Palestrina (1915), Krenek's Jonny spielt auf (1926) and Hindemith's Mathis der Maler (1935)) contributed to the debate in early twentieth-century Germany about the place of art and the artist in modern society, and examines how far the artist-character may be taken as functioning as a persona for the real composer of the work. Because of their concern with the place of art within society, the works are also engaged with inherently political questions, and each opera is read in the light of the political context of its time: conservatism circa World War I, Americanism and democracy, and the rise of National Socialism.
divdivThe first study to show Copland's style development from his early works through his first widely accessible ballet/DIV/DIV
Biografie van de Amerikaanse componist van Oostenrijkse afkomst (geb. 1900)
DIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div
Political, economic, social, and cultural modernization dramatically transformed twentieth-century Austria. Innovative new methods of production and management, such as the assembly line, changed Austrian business after World War I, much as the Marshall Plan shaped the economy after World War II. At the same time, jazz, Hollywood movies, television programming, and mass commodities were as popular in Austria as elsewhere in Western Europe. Even political campaigns followed American trends. All this occurred despite the fact that in West Germany, American nostrums and models had been rejected, modified, or "translated" into milder versions. Ultimately, Austria was "Western Europeanized" when it joined the European Union in 1995. How Western are the Austrians? This volume analyzes trends toward Americanization and Westernization in Austria throughout the twentieth century. Reinhold Wagnleitner's lead essay studies the foreign politics of American pop culture. Anna Schober and Monika Bernold analyze the influence of Hollywood movies and television on postwar Austrian society. Reinhard Sieder follows changing discourses on family life, while Ingrid Bauer looks at American influences on Austrian women. Maria-Regina Kecht, Kurt Drexel, and Christina Hainzl follow the American impact on Austrian literature, opera, and art. Banker Anton Fink examines American banking and finance practices. Andre Pfoertner and Matthias Fuchs study the Americanization of Austrian business and tourism. Helmut Lackner describes how well-heeled Austrian travelers to the United States brought back innovative American production methods and other ideas gleaned from world expositions before World War I. American influences on Austrian politics and political science are dissected by Gunter Bischof, Martin Kofler, Fritz Plasser, and Anton Pelinka. The Americanization of Vienna is the subject of journalist Armin Thurnher's essay. Comparisons with West Germany are presented by Michael Hochgesc
A prominent conductor explores how aesthetic criteria masked the political goals of countries during the three great wars of the past century This book offers a major reassessment of classical music in the twentieth century. John Mauceri argues that the history of music during this span was shaped by three major wars of that century: World War I, World War II, and the Cold War. Probing why so few works have been added to the canon since 1930, Mauceri examines the trajectories of great composers who, following World War I, created voices that were unique and versatile, but superficially simpler. He contends that the fate of composers during World War II is inextricably linked to the political goals of their respective governments, resulting in the silencing of experimental music in Germany, Italy, and Russia; the exodus of composers to America; and the sudden return of experimental music—what he calls “the institutional avant-garde”—as the lingua franca of classical music in the West during the Cold War.