- Paperback: 332 pages
- Publisher: University of California Press; 1 edition (20 Feb 2007)
- Language English
- ISBN-10: 0520251482
- ISBN-13: 978-0520251489
- Product Dimensions: 22.7 x 16 x 2.4 cm
- Amazon Bestsellers Rank: 398,599 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Review
"In a brilliant and original synthesis of developments in music, art, and literature, German Modernism offers an important new reading of the years of transition between romanticism and modernism. Frisch's study is essential reading for anyone interested in why and how twentieth-century music developed as it did."
Product Description
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.
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First Sentence
UNTIL 1871 THERE WAS NO coherent political entity called Germany, but rather a loose "German Confederation" of thirty-eight states that had been created in 1815, at the Congress of Vienna. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index
UNTIL 1871 THERE WAS NO coherent political entity called Germany, but rather a loose "German Confederation" of thirty-eight states that had been created in 1815, at the Congress of Vienna. Read the first page
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