Schoenberg's Musical Imagination (Music in the Twentieth by Michael Cherlin
By Michael Cherlin
No composer was once extra accountable for alterations within the panorama of twentieth-century tune than Arnold Schoenberg (1874–1951) and no different composer's track encouraged a commensurate volume and caliber of technical description within the moment 1/2 the 20 th century. but there's nonetheless little realizing of the correlations among Schoenberg's musical concept and bigger questions of cultural importance in and because his time: the formalistic descriptions of track thought don't in general interact higher questions within the historical past of rules and students with no figuring out of the ambitious musical method are ill-equipped to appreciate the tune with any profundity of proposal. Schoenberg's Musical mind's eye is meant to attach Schoenberg's track and demanding writings to a bigger global of rules. whereas so much technical experiences of Schoenberg's song are constrained to a unmarried compositional interval, this publication strains alterations in his attitudes as a composer and their influence on his ever-changing compositional variety over the process his impressive profession.
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Additional info for Schoenberg's Musical Imagination (Music in the Twentieth Century)
Sample text
Schoenberg explores a fractured psyche at war with itself, or at war with its own projections most explicitly in Erwartung and Die gl¨uckliche Hand, but as we will see in Chapter Two, irresolvable conflict takes on many aspects within his musical thought. Conflict is at the heart of Schoenberg’s Grundgestalt, the seed idea that engenders musical compositions. It is basic to his concepts of harmony and history. Chapter Six is an extended meditation on the role In t ro d u c t i o n 15 of conflict built into the twelve-tone row that is the conceptual basis of Moses und Aron.
Long before Schoenberg imagined ways to exclude perfection from musical syntax, composers had created musical spaces that suggested the impossibility of emotional closure. Schubert in particular imagines such spaces: Winterreise as a whole, and its closing song, “der Leiermann,” provide stunning examples. A similar lack of psychological closure is common in Mahler as well. Schoenberg’s large-scale tonal works strike me as developing a different orientation to the impossibility of psychological closure.
There are also relations between Gurrelieder and the legend of the Flying Dutchman. The Dutchman is doomed to an eternal journey which parallels the “wild hunt” of Waldemar’s men. But whereas the Dutchman is ultimately saved, Waldemar and his ghostly hunt are forgotten, swept away by the summer’s wind. Perhaps most striking, the overall trajectory of the work inverts the sunrise to sunset organization of Wagner’s Ring. We might recall Debussy’s famous comment that Wagner was a sunset mistaken for a sunrise.