Posted on 01/30/2008 1:49:47 PM PST by billorites
This year marks the centenary of monosodium glutamate, drip coffee makers, the FBI and -- most importantly -- atonality as we know it.
In 1908, Viennese composer Arnold Schoenberg led the classical tradition away from its audience, changing the world with music not in any key and of no commercial value. He put music before audiences, both literally and figuratively, and in doing so created some of Western culture's best music while gutting classical's contemporary significance.
Schoenberg started writing compositions as a child in the 1880s, studying Bach and Mozart passionately. And though none of his family was artistic, his music began demonstrating genius, soon blending the sounds of those romantic antipodes, Brahms and Wagner.
In the late 19th century, European opinion was primarily divided between these two composers. Brahms was a supposed reactionary who nonetheless wrote the first pieces that were completely thematic, wherein every bit of the score was related to the main melody. Wagner's blatantly progressive, extended tonalities seemed too delicate to support Brahms' tight melodic weaves.
Nonetheless, Schoenberg put them together in his 1899 Transfigured Night, when he was just 25. It wasn't merely beautiful, sophisticated music; this half-hour string sextet was wise and heart-wrenching, on par with the best of Mahler or Richard Strauss.
Schoenberg didn't just want to entertain; he was a culture warrior who said things like, "I have discovered a technique that will guarantee German music's supremacy for the next thousand years."
At the turn of the century, most serious artists in Vienna were confronting psychoanalysis by looking inward.
Painters were on the front lines of new ideas back then, and Schoenberg was active in this art as well. He and cutting-edge younger Viennese visual artists like Egon Shiele and Oskar Kokoschka were interested in the bald psychological stresses hinted at on the canvases of Klimt, Paul Klee and Wassily Kandinsky. Bodies and landscapes could now be legitimately, hideously rendered if the artist was revealing truth, the same way clenched hands betray the lie behind a smile. This style was dubbed expressionism, pulling the romantic pose inside out.
Schoenberg's view of musical history allowed for a similar inversion. It ran something like this: from Mozart to Mahler, classical music became more and more dissonant, with more chromatic (or "wrong") notes in it, so that it was more indirect overall with each generation. The handling of chromatic notes was critical to a composer's unique sound. Schoenberg concluded that since wrong notes were coming more and more into the foreground of compositions, that they were music's progressive impetus.
But the public was uninterested in difficult music. Schoenberg barely supported his family as a conductor. Critics were childishly toxic, writing clever cruelties like "Transfigured Night sounds similar to Tristan and Isolde if the ink were smeared across Wagner's score." By today's standards, these dissonances are no more offensive than one of Danny Elfman's soundtracks.
Today, Schoenberg's genius (if not his saleability) is questionable only to insincere people, though Schoenberg himself had doubts. He said that God was telling him to say something new, but that his mortal ears couldn't absorb God's message. So instead of being pleased with having a few bona fide masterpieces under his belt, Schoenberg was often depressed, complaining that his music was derivative of the human condition, rather than accurately recording what God was telling him to say.
This artistic quandary, both aesthetic and moral, didn't exist before Schoenberg. He wasn't a showman or an opportunist like Beethoven, who used his influence to sway court judges, or to charge fans money to watch him eat in restaurants. Schoenberg was the sort of guy who publicly affirmed his Judaism the day Hitler assumed the Chancellorship. The composer even travelled to Berlin just to do that. His absolute courage and sincerity extended to all things.
But what seems to have pushed his imagination over tonality's edge was more personal and tangible.
In the summer of 1908, while writing a song cycle titled The Book of the Hanging Garden, Schoenberg was vacationing in Grunden with his family. During this time, his wife Matilde left her husband to live with his painting instructor, Richard Gerstl. During the months his wife was absent, Schoenberg completed the song cycle with the last two numbers lacking any final cadence or primary chord. He suspended the traditional resolutions in his music, reflecting the upheaval in his marriage.
His students made regular contact with Matilde until she was convinced to return. She eventually conceded that autumn. Gerstl burned all his paintings and then fatally stabbed himself.
The next piece Schoenberg completed, in time for Christmas, was his second string quartet. It was dedicated to his wife, and the tonal centre was again undetectable in the final movements. In its place was a soprano soloist singing a Stefan George poem that begins "I feel the air of other planets."
Schoenberg believed that he was closer to God's message now, and he never went back to tonality. His conviction influenced generations of composers who felt that a return to tuneful tonality was a backward tendency, fascistic even. A century of avant-garde music was thus born. Academics and connoisseurs really appreciated the results, though the general public assumed a thousand years of music just stopped being made.
The closest thing we have to a recent mainstream compositional hero was the grinning deconstructionist John Cage, who was, incidentally, also Schoenberg's student. The performance arm of classical has successfully kept the tradition breathing, but its pendulum remains stuck to the populist end of the artistic spectrum. Now we just keep playing the old favourites while, hopefully, new composers figure something out.
Pingy.
His "music" probably gave her a headache.
Dear billorites,
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sitetest
I love classical music but with the exception of John Williams, Scott Joplin, Aaron Copeland and the Gershwins, most modern classical music stinks. At least to me; YMMV.
It took a while, but their music has really grown on me, in an autistic sort of way, and I particularly like Adam's Nixon in China opera.
If you really want to mess with your mind check out Gavin Bryar's monumental Jesus' Blood Never Failed Me for a great minimalist modern piece (with Tom Waits). I ran, did not walk, to buy this after hearing in on the radio. BTW, I see that you can preview parts of this on Amazon.
Bryar's Sinking of the Titanic is also noteworthy.
Thanks for typing and posting my thoughts, LOL.
Clueless in Florida,
Leni
I will give them a fair hearing. Thanks for the recommendations. Oh, I like Rachmaninoff too.
An very good read for 20th Century ‘classical’ music fans is “The Rest Is Noise: Listening to the Twentieth Century” by Alex Ross.
Verklaerte Nacht and Gurrelieder were the masterpieces of his career. 12-tone serialism was an experiment in idealist composition gone horribly awry.
Does anyone familiar with Puccini’s opera Tosca agree with me that the orchestral passage during Scarpia’s aria at the end of Act I bears an uncanny resemblance to the themes in the opening passages of Gurrelieder? Tosca premiered in 1900 and Gurrelieder in 1913.
Gurrelieder was written in 1901. It just wasn’t performed till 1913.
He wrote some of the most heartfelt, expressive music of his time.
Yes indeed - Schoenberg to Tupac. I tremble for the remaining 900 years.
I haven't a great argument with this change of direction in classical music; it wasn't as radical as, say, the inception of the pianoforte or the fugue. But if it isn't to taste - and it isn't - surely that's my business.
It wasn’t a change of direction. It was a continuation of German Romanticism in its inevitable tonal breakdown from Wagner to Mahler and beyond. Liszt had already written atonal music.
I liken his music to the decorative arts that thrived in the 1920s in Vienna, like the Wiener Werkstatte group.
Do you object to the atonality in Bach as well? It’s certainly there.
The sacred music of that time holds little interest for me musically, although the secular compositions get my attention in some cases.
I'm afraid I'm more into the romantic era of compositions for orchestra and just about any instrument....and, of course, opera has been my life-long passion.
Being part German descent (two Lutheran grandparents from southern Germany) I do confess to a pride in the body of works by German composers and the extraordinary, almost unsurpassed musical heritage they left to the world.
My grandma told me that in Germany when she lived there as a little girl in the late 1800's every town and burg, no matter how small and lightly populated, had its little musical companies of locals, with at least some mix of orchestras, bands, concerts, soloists, instrumentalists, church organs with skilled organists, opera, operettas, music halls....all giving inexpensive perfomances.....all probably a little amateurish with money certainly being in short supply in the poorer of the little hamlets.
But the music tradition in Germany and in the German soul is very powerful and it was the effort that counted.
Leni
“There’s still a lot of good music left to be written in C Major.” — Arnold Schoenberg
Please, allow me. WHAT A BUNCH OF CRAP!! I love to listen to classical music. I may enjoy some pop music on the radio, but not much. I don’t own any pop CD’s and wouldn't pay to go to a pop concert. I would pay to see a classical performance. I remember attending a demo concert for school kids with my children. I was extremely amused by the audience reaction to the (blessedly single) sample of atonal crap. That reaction was almost worth the pain of hearing the junk drawer spill. For you “connoisseurs”, please, help yourself. Buy ALL the CD's and front row seats!
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