By Walter Frisch
Frisch explores "ambivalent" modernism within the final sector of the 19th century as mirrored within the attitudes of, and courting among, Nietzsche and Wagner. He is going directly to research how naturalism, the 1st self-conscious flow of German modernism, intersected with musical values and practices of the day. He proposes convergences among track and the visible arts within the works of Brahms, Max Klinger, Schoenberg, and Kandinsky. Frisch additionally explains how, close to the flip of the century, composers drew thought and strategies from tune of the past—the Renaissance, Bach, Mozart, and Wagner. eventually, he demonstrates how irony grew to become a key method within the novels and novellas of Thomas Mann, the symphonies of Mahler, and the operas of Strauss and Hofmannsthal.
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Extra resources for German Modernism: Music and the Arts (California Studies in 20th-Century Music)
The instant one paintings imitates another,” he observes, “it turns into extra far away from it via repudiating the constraint of its personal fabric, and falls into syncretism, within the imprecise inspiration of an undialectical continuum of arts as a rule” (p. 67). Adorno has little sympathy for experiments in synesthesia (hearing shades, seeing sounds) or in what he calls “dubious analogies” among phenomena within the arts of portray and track (p. 74). the humanities can converge, Adorno says, merely the place every one “pursues its immanent precept in a natural manner” (p. 67). Adorno admits that during the palms of yes gifted artists those ideas do appear to enable, or perhaps generate, issues of touch. In tune you may “inevitably” communicate of “line”; and in portray notions like concord and dissonance of colour are “not mere metaphors” (p. 74). The language of dialectic and immanence betrays Adorno’s personal philosophical reﬂexes. For him, portray and track could inevitably stand in a dialectical courting; they can not only be issues on a few “vague” continuum. every one paintings shape may in addition additionally have to preserve the integrity of its personal inherent recommendations. there's a lot to be acknowledged for Adorno’s thought of convergence as regarding now not one paintings trying to imitate one other, tune and the visible arts 89 and now not synesthesia, yet extra simple structural connections one of the inventive “materials. ” Convergence, notwithstanding now not ironclad as a class of musicart family members, is hence an invaluable heuristic build. it's extra powerfully suggestive than a‹nity or analogy, and it implies a deeper connection among arts than parallelism. Convergence can demonstrate issues of touch among (or extra) arts with out unavoidably imputing whatever as concrete as inﬂuence or purpose. three traditionally, Adorno doesn't historicize his argument approximately convergence. he's writing no longer approximately speciﬁc epochs, composers, or painters (although they arrive up in passing), yet particularly at a extra theoretical point. but his reviews indicate that the years round 1900 in Europe are a really promising position to appear for convergence. For Adorno, the Wagnerian Gesamtkunstwerk (total art) and its “derivatives” within the later 19th century represented just a “dream” of convergence as an “abstract Utopia” (p. 74). those makes an attempt failed as the mingling of media didn't but enable precise convergence. extra propitious situations for convergence arose after 1900 with the appearance of abstraction in paintings and atonality in tune. Adorno means that abstraction happens in paintings during the renunciation of object-relatedness, and in track “through the mortal contraction of all its imitative moments, not just its programmatically descriptive components, yet its conventional expressivity, to boot, which calls for ﬁrm conventions linking what's expressed with its signiﬁer” (p. 71). Adorno sees convergence among nonobjective portray and “tonality-free” song, which either yield to their impulses of “pure expression” (p. 72). ﬁgures that Adorno mentions during this context, no longer strangely, are Wassily Kandinsky and Arnold Schoenberg, whose names are usually associated in histories of early modernism and who're, respectively, the earlytwentieth-century masters of nonobjective portray and atonal song within the German sphere.