The New Music. Theodor W. Adorno

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THE NEW MUSIC: KRANICHSTEIN LECTURES

      Theodor W. Adorno

       Edited by Klaus Reichert and Michael Schwarz

       Translated by Wieland Hoban

      polity

      Originally published in German as Kranichsteiner Vorlesungen. Nachgelassene Schriften. Abteilung IV. Band 17. Herausgegeben von Klaus Reichert und Michael Schwarz © Suhrkamp Verlag Berlin 2014. All rights reserved by and controlled through Suhrkamp Verlag Berlin.

      This English edition © 2021 by Polity Press

      The translation of this work was funded by Geisteswissenschaften International – Translation Funding for Work in the Humanities and Social Sciences from Germany, a joint initiative of the Fritz Thyssen Foundation, the German Federal Foreign Office, the collecting society VG WORT and the Börsenverein des Deutschen Buchhandels (German Publishers & Booksellers Association).

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      All rights reserved. Except for the quotation of short passages for the purpose of criticism and review, no part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher.

      ISBN-13: 978-1-5095-3809-6

      A catalogue record for this book is available from the British Library.

      Library of Congress Cataloging-in-Publication Data

      Names: Adorno, Theodor W., 1903-1969, author. | Schwarz, Michael (Archivist) editor. | Reichert, Klaus, editor. | Hoban, Wieland, translator.

      Title: The new music : Kranichstein lectures / T. W. Adorno ; edited by Klaus Reichert and Michael Schwarz ; translated by Wieland Hoban.

      Other titles: Kranichsteiner Vorlesungen. English

      Description: Medford : Polity Press, 2021. | Includes bibliographical references and index. | Summary: “The first publication in English of Adorno’s most sustained analysis of modern music”-- Provided by publisher.

      Identifiers: LCCN 2020031373 (print) | LCCN 2020031374 (ebook) | ISBN 9781509538089 (hardback) | ISBN 9781509538096 (epub)

      Subjects: LCSH: Schoenberg, Arnold, 1874-1951. | Music--History and criticism.

      Classification: LCC B3199.A33 K7313 2021 (print) | LCC B3199.A33 (ebook) | DDC 780.9/04--dc23

      LC record available at https://lccn.loc.gov/2020031373 LC ebook record available at https://lccn.loc.gov/2020031374

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      Every effort has been made to trace all copyright holders, but if any have been overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition.

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Overview

       The Young Schoenberg (1955)

       LECTURE 1

      Schoenberg’s innovations already present in the early works – No laudatio temporis acti, but the question of the musical sense of every event – The concept of the young Schoenberg – The musical material – Three periods of the young Schoenberg – op. 1, ‘Abschied’ – Proximity to Debussy – Op. 2 songs and art nouveau – Richard Dehmel’s poem ‘Erwartung’ and Schoenberg’s op. 2, no. 1 – op. 2, no. 2, ‘Schenk mir deinen goldenen Kamm – Relationship with tonality – Basic characters – Analysis of op. 2, no. 2; harmony in early Schoenberg – Contrast with Wagner and Strauss – op. 2, no. 3, ‘Erhebung’; note-row technique – op. 2, no. 4, ‘Waldsonne’

       LECTURE 2

Metric irregularity in Schoenberg: beginning of an analysis of Verklärte Nacht, op. 4 – Metric design and thematic progression – Duet idea; Adorno’s concept of ‘axial rotation’ (I) – Sequencing – Problematics of adagio movements – Relationship between development and exposition – Strauss’s Tod und Verklärung – Verklärte Nacht: new themes in the second part – Wagner’s leitmotifs – op. 3, no. 3, ‘Warnung’; precision – Verklärte Nacht as a transfer of the idea of the symphonic poem to chamber music, form and organization – comparison with the Chamber Symphony – Question from the audience about the arrangement for string orchestra – Gurrelieder part 1, first song and song of Tove

       LECTURE 3

      ‘The Aging of the New Music’: misunderstandings and questions of musical sense – Gurrelieder, ‘So tanzen die Engel vor Gottes Thron nicht’ – Scale degree awareness and individual weight – Experiences from Webern’s op. 5 string quartet movements – Principle of balance in Waldemar’s song; innovations – Valéry’s concept of refus – The aspect of consistency in Schoenberg – The idea of the large interval: ‘Du wunderliche Tove’ – ‘Lied der Waldtaube’ – New harmony and counterpoint – End of Gurrelieder: chorus – Thematic combination as the origin of Schoenberg’s polyphony – Connection to Mahler – Clarity of musical events, the principle of construction – Thematic combination and note-row technique – Problem of tonality in the op. 6 songs

       Schoenberg’s Counterpoint (1956)

       LECTURE 1

      Artistic idea and technique – The idea of integral composition, the intertwining of contrapuntal thinking and thematic work in Schoenberg – Melody in songs; primacy of counterpoint over polyphony, special status of choruses – The reawakening of the contrapuntal spirit – Counterpoint and harmony – Relation between the voices – Unity through simultaneity of voices; bindingness – Multiple counterpoint and musical space – Relationship of Schoenberg’s counterpoint to harmony – Rhythm – Instrumental texture – Relationship with form

       LECTURE 2

      Different types of counterpoint – Free counterpoint