By Joy H. Calico
Pleasure H. Calico examines the cultural background of postwar Europe during the lens of the functionality and reception of Arnold Schoenberg's A Survivor from Warsaw—a brief yet robust paintings, she argues, able to frustrating each uncovered nerve in postwar Europe. Schoenberg, a Jewish composer whose oeuvre have been one of many Nazis’ leading exemplars of entartete (degenerate) track, immigrated to the us and have become an American citizen. either widespread and reviled as a pioneer of dodecaphony, he wrote this twelve-tone piece in regards to the Holocaust in 3 languages for an American viewers. This e-book investigates the meanings hooked up to the paintings because it circulated via Europe in the course of the early chilly conflict in one of those symbolic musical remigration, concentrating on six case reviews: West Germany, Austria, Norway, East Germany, Poland, and Czechoslovakia. every one case is exclusive, proficient by way of person geopolitical matters, yet this research additionally unearths universal topics in anxieties approximately musical modernism, Holocaust reminiscence and culpability, the coexistence of Jews and previous Nazis, anti-Semitism, dislocation, and the presence of occupying forces on either side of the chilly warfare divide.
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Additional resources for Arnold Schoenberg's a Survivor From Warsaw in Postwar Europe
In this sense, then, his agenda is considerably different from Taruskin’s, who would not want anything less than passive contemplation in the Germanic tradition. Kivy’s philosophical facility does have much to teach us, particularly when we might hold a view precisely because we believe it to be logically necessary. His examination of the issue of intention is particularly pertinent in this regard and is one of the most thorough to date (this will be discussed in detail in chapter , below).
Is knowing what you mean and whence comes that knowledge. And more than that, even, authenticity is knowing what you are, and acting in accordance with that knowledge’ (p. ). In fleshing out this concept, Taruskin tends to draw on two theories in modern thought: the history of reception as a major carrier of meaning and tradition as an alternative to authority. According to reception theory ‘[c]hange of context adds as much meaning as it may take away’ (p. ); the meaning, for us, of Don Giovanni has been ‘mediated by all that has been thought and said about it since opening night, and is therefore incomparably richer than it was in ’.
It is a champion of the ‘Kleinmeister’ (echoes of Adorno, here); it is against any form of personal expression, and virtuosity is to be seen as a form of charlatanism. And in HIP the composer rules (‘With the historically authentic performance you are dialing direct’, p. – a nice expression, were it true). Obviously it is impossible to refute all these statements in one go, and it should be acknowledged that many in the movement more-or-less hold these views. Taruskin, it should be remembered, linked objectivist performance to the high modernism of the Stravinsky and Boulez generations.