19th century european music
20th century european music
A01=Walter Frisch
ambivalent modernism
arnold schoenberg
austro german music
Author_Walter Frisch
california studies in 20th century music
Category=AGA
Category=AVLA
early modernism
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eq_bestseller
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eq_music
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eugen dalbert
franz schreker
german modernism
german naturalism
gustav mahler
hans pfitzner
historicist modernism
late richard wagner
max reger
max von schillings
modernism
modernist music
modernity
music
music and visual arts
music history
musicians
nietzsche
richard strauss
thomas mann
wagner
Product details
- ISBN 9780520251489
- Weight: 499g
- Dimensions: 152 x 229mm
- Publication Date: 01 Feb 2007
- Publisher: University of California Press
- Publication City/Country: US
- Product Form: Paperback
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In this pioneering, erudite study of a pivotal era in the arts, Walter Frisch examines music and its relationship to early modernism in the Austro-German sphere. Seeking to explore the period on its own terms, Frisch questions the common assumption that works created from the later 1870s through World War I were transitional between late romanticism and high modernism. Drawing on a wide range of examples across different media, he establishes a cultural and intellectual context for late Richard Wagner, Richard Strauss, Gustav Mahler, and Arnold Schoenberg, as well as their less familiar contemporaries Eugen d'Albert, Hans Pfitzner, Max Reger, Max von Schillings, and Franz Schreker. Frisch explores "ambivalent" modernism in the last quarter of the nineteenth century as reflected in the attitudes of, and relationship between, Nietzsche and Wagner. He goes on to examine how naturalism, the first self-conscious movement of German modernism, intersected with musical values and practices of the day. He proposes convergences between music and the visual arts in the works of Brahms, Max Klinger, Schoenberg, and Kandinsky.
Frisch also explains how, near the turn of the century, composers drew inspiration and techniques from music of the past--the Renaissance, Bach, Mozart, and Wagner. Finally, he demonstrates how irony became a key strategy in the novels and novellas of Thomas Mann, the symphonies of Mahler, and the operas of Strauss and Hofmannsthal. 00
Walter Frisch is H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University. He is the author of Brahms: The Four Symphonies (2003), The Early Works of Arnold Schoenberg, 1893-1908 (California, 1993), and Brahms and the Principle of Developing Variation (California, 1984).
