Abstract
Investigating the relationship between musical Modernism and German cinema means paving the way for a rather unorthodox research path, one which has been little explored up until now.
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Notes
- 1.
- 2.
An updated overview on this debate and its main lines can be read in Forkert (2014), pp. 31–70.
- 3.
On this subject, readers can mainly refer to Diederichs (2004), and Heller (1984). The confrontation between literary and cinematic critics dates back to the beginning of the twentieth century, and has generated various publications over the past years, including anthologies, such as Kaes (1978) and Schweinitz (1992). The focus on German film music journalism in the 1910s and 1920s, however, has been established only recently by a small number of pioneering studies: Beiche (2006), Prümm (1999), Siebert (1990), and Krenn (2007).
- 4.
On this topic readers can find a more in-depth discussion in the excellent study of Kern 1983.
- 5.
According to Walter Frisch’s account, based on a letter by Max Reger, the expression Brahmsnebel was coined by Wilhelm Tappert , a prominent Wagnerian critic, to describe the powerful attractive power exerted by Brahms’s music on the Austrian-German composers who had ‘come of age’ around the turn of the century. Cf. Frisch (1993), p. 3 sg.
- 6.
Letter from Arnold Schönberg to Ferruccio Busoni, 24 August 1909 (see Busoni 1988, p. 531). This is to be read in the context of the dispute on the Konzertmäßige Interpretation of the second Klavierstück op. 11. Schönberg’s invocation “Nun laßt uns andere Töne anstimmen…” is a clear allusion to Beethoven’s motto preceding Schiller’s ode: “O Freunde, nicht diese Töne! Sondern laßt uns angenehmere anstimmen und freudenvollere” (Oh friends, not these sounds! Let us instead strike up more pleasing and more joyful ones).
- 7.
In an interview for the Neues Wiener Journal, the Viennese composer, then at the threshold of the Expressionist period, declared that he was unable to conceive of his relationship with the past except in the form of an antithetical reaction that originated in a will to rebel against the previous stage: “It is interesting to observe that what prompted evolution almost invariably produces its own antithesis, and this in turn, once it has been digested, is again the first thing to disgust us: so that evolution is always a reaction against what generated it in the first place…”. Schönberg (2007), p. 360.
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Finocchiaro, F. (2017). Introduction: The Cinematic Paradigm. In: Musical Modernism and German Cinema from 1913 to 1933. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-58262-7_1
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