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Cambridge University Press 978-0-521-76757-6 - Music and Decadence in European Modernism: The Case of Central and Eastern Europe Stephen Downes Index More information Index Adorno, Theodor W. 28, 60, 207, 215, 243–4, BaileyShea, Matthew 181 273, 277 Baker, James 103 on Alban Berg 184, 203, 211 Bakhtin, Mikhail 124 on commodity art 248 Balakirev, Mily 80, 229 on dissolution 204 Ba´lasz, Be´la 35, 36, 115, 123, 124 on kitsch 243–4 Balmont, Konstantin 56, 58, 110 on lateness 227 Banks, Paul 154 on Mahler 198, 199 bar form 180–1, 189–90 on mannerism 203, 263 Abgesang 198, 199, 202, 211–12, 241 on miniaturism 203 Barone, Anthony 25, 29 on mourning 116 Barre`s, Maurice, 175 on pessimism 203 Amori et dolori sacrum: La Mort de Venise 3 on phantasmagoria 217 Bartels, Adolf on Rachmaninov 99, 106 ‘Dekadenz’ 51 on Schoenberg 261, 263, 264, 266–7, 272, Barto´k, Be´la 59, 65, 66, 113, 320 276, 277 Ady songs Op.16 66, 120, 125 on Schreker 215 Bagatelle Op.8 No.14 125 on Schumann 184 Elegy Op.8b No.1 59, 66, 117 on Strauss 253 Five Songs Op.15 125 on Wagner 23, 25, 180, 315 The Miraculous Mandarin Op.21 59, 66, 123 Ady, Endre 49, 115, 120 String Quartet No.1 Op.7 59, 66, 118, 124, 125 Agawu, Kofi 182 Barzun, Jacques 3 Albright, Daniel 246, 247 Baudelaire, Charles 3, 12, 25, 33, 34, 36, 42, 45, Andersen, Hans Christian 64 54, 97, 124, 235, 280 artifice/artificial 3, 25, 32, 34, 36, 49, 60, 72, and l’art pour l’art 66 215–16, 223, 249, 251, 269, 322 on the dandy 65, 71–2 in Huysmans 213–14 Les Fleurs du mal 36, 37, 213 and mannerism 224, 238 and Giraud 277 in Nordau 279 inspiration on Oswald Spengler 26 and the Russian ‘Silver Age’ 229 and mannerism 237 in Schreker’s music 216, 219, 223 and modernity 251 in Strauss’s music 26–8, 242 and morbid states 213 in Wagner’s music 19, 20 The Painter of Modern Life 71 art nouveau 7, 125, 224, 238 and pessimism 70–2 avant-garde 22, 31–2, 57, 60, 97, 228, 245 on Wagner 15 and Wagner 266 Beardsley, Aubrey 124, 125, 278 Bechert, Paul 243, 245 Babylon 44, 266 Beethoven, Ludwig van 77, 79, 82, 185, 194, Bach, Johann Sebastian 196 242, 245, 285–6, 298, 323 Bahr, Hermann 48, 50, 174, 238 Piano Sonata Op.2 No.1 208 Die gute Schule 48 Piano Sonata Op.13 Pathe´tique 78, 82 Nervenkunst 50, 277 Piano Sonata Op.81a Les Adieux 78 Studien zur Kritik der Moderne 48, 239 Piano Sonata Op.106 Hammerklavier 323 361 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76757-6 - Music and Decadence in European Modernism: The Case of Central and Eastern Europe Stephen Downes Index More information 362 Index Beethoven, Ludwig van (cont.) Calinescu, Matei 32, 244 String Quartet Op.131 119–20 Catholicism 36, 316 Symphony No.3 Op.55 Eroica 177 Cherlin, Michael 267 Symphony No.5 Op.67 176, 177 Chopin, Fre´de´ric 61, 298, 314, 315, 320–6 Symphony No.7 Op.92 176 ‘Chopinesque’ 60, 226–36 Bekker, Paul 222 Nocturne Op.9 No.2 231, 315 Bely, Andrie 56 Nocturne Op.55 No.1 231 Benedyktowicz, Ludomir Preludes Op.28 231, 233 Genealogy of the Secession in Painting and Chybin´ ski, Adolf 86, 95 Sculpture: Its Flowers and Fruits on our convalescence 19, 42–3, 45, 55, 61, 195, Soil 53 281, 282 Berg, Alban 184, 203–13, 260, 269, 315 intoxication of convalescence 195, 281, 296 Piano Sonata Op.1 60, 186, 203 in Mahler’s music 197 Berger, Karol 175, 330 Nietzsche and Schumann 285 Berlioz, Hector 253 in Szymanowski’s music 315, 326, 328, 330 Symphonie fantastique 81 in Wagner’s music 301, 307, 312 Bernheimer, Charles 40 in Wolf ’s music 305 Bethge, Hans 317, 319 see also intoxication Bie, Oscar 256 corruption 139, 178 Bierbaum, Otto Julius 239 Couture, Thomas Binni, Walter Les Romans de la de´cadence 5 La poetica del decadentismo 97 cubism 269 blaue Reiter, Der 269, 271 Cui, Ce´sar 97 Blix, Goran 33 Blok, Alexander 56 Dahlhaus, Carl 7, 29, 206, 207, 228, 236, Bloom, Harold 227 248, 295 bohemianism 51, 54 dandy, the 48, 57, 65, 71–2, 74, 87, 88, 90, 91 Boisson, Maurice 247 D’Annunzio, Gabriele 16, 42, 222, 243, 245 Borchmeyer, Dieter 22 Dante Alighieri Bourget, Paul 39–40, 71, 226, 235 Inferno 107 Essais de psychologie contemporaine 39, 71 Danuser, Hermann 154, 217, 221 Bowlt, John E. 55 Darcy, Warren 127, 136, 185, 197 Brahms, Johannes 28, 184, 209, 212, 245, 258 Darwinian/Darwinism 35, 175, 182, 185, Intermezzo Op.119 No.1 210 207, 279 Sonata for Cello and Piano Op.99 209 Daub, Adrian 215, 223 String Quartet Op.51 No.1 209 Daverio, John 16–17, 286 Brinkmann, Reinhold 269 death 1, 36, 56, 70, 103, 118 Broch, Hermann 242 Baudelaire on 213–14 Brown, Julie 124, 263, 266 in Berg’s music 203 Bruckner, Anton 28, 60, 178, 182 and elegy 73 Symphony No.7 184 and the fragment 116 and Wagner’s death 184 in Karłowicz’s music 65, 73, 92 Bryusov, Valery 55–6 Luka´cs on 114 Buhler, James 198 in Mahler’s music 198 Bu¨low, Hans von 294, 297, 298 in Nietzsche’s music 298 Burckhardt, Jacob 44 Nordau on 280 Der Cicerone: Eine Anleitung zum Genuss der in Schreker’s music 223 Kunstwerke Italiens 224 in Tchaikovsky’s music 80, 81 Byron, (Lord) George 104, 285, 286 in Wagner and Poe 25 Manfred 70, 80, 104, 296 in Wolf ’s music 307 Byronism/Byronic 54, 58, 61, 66, 97, 99–101, Deathridge, John 162, 260, 269, 299–300 104, 105, 106, 110 Debussy, Claude, 229, 320, 324 Byzantium 5, 34, 44, 326 Pelle´as and Me´lisande 7 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76757-6 - Music and Decadence in European Modernism: The Case of Central and Eastern Europe Stephen Downes Index More information Index 363 decay 1, 7, 25, 26, 28, 29, 33, 34, 36, 37, 39, 42, and nihilism 247 47, 49, 51, 59, 60, 61, 175 Pater’s portraits 326–30 in Berg’s music 203, 205, 206, 212 in Schoenberg’s music 262 and lateness 227 in Russian art 56 in Mahler’s music 198 and Schumann’s Florestan 283 in Poe 124 in Strauss’s music 158, 161, 171 in Schoenberg’s music 264, 266 and the sublime 199 in Strauss 82, 155, 172, 188 in Szymanowski’s music 313–15, 320 in Wagner 25, 127, 155 in Wagner’s music 82, 153 deformation 1, 17, 32, 39, 185–6, 231, 249 dissolution [Auflo¨sung] 1, 175, 188, 300 in Barto´k’s music 124 in Barto´k’s music 118, 119 in Karłowicz’s music 87 in Berg’s music 203, 204, 211, 212 in Lyadov’s music 231 in Karłowicz’s music 85, 91, 94 in Mahler’s music 195, 198 in Mahler’s music 196, 198, 199, 202 of redemptive model 78 in Schoenberg’s music 266 of sonata form 81 in Schumann’s music 184 in Strauss’s music 83, 194, 252, 254 in Scriabin’s music 106 see also waves, deformations in Strauss’s music 83, 155, 189, degeneration/the degenerate 1, 19, 25, 31, 32, 194, 240 34, 37–9, 40, 42, 43, 46, 53, 56, 57, 59, and the sublime 69 60, 69, 249 in Wagner’s music 133, 299 in Baudelaire 213 Dolar, Mladen 239 in Mahler’s music 196 Donington, Robert 150 in Nordau 279–81 Do¨rmann, Felix 317 in Pater 328 ‘neurotika’ 317 in Schoenberg’s music 266 doubleness 134, 174 in Schreker’s music 214 Drake, Richard 58, 97, 100 in Scriabin’s music 106 Dvorˇa´k, Antonı´n 64 in Strauss’s music 188 in Wagner’s music 74, 82, 126 elegy/elegiac 59, 66, 70, 72–3, 114–25, 184, 204, and wave deformations 175 211, 212 Dehmel, Richard 315 Elgar, Edward 259 Deleuze, Gilles 296–7, 298 end, the/endings 32, 33, 58, 59, 60, 145, Delius, Frederick 259 175, 231 Descartes, Rene´ 115 in Berg’s music 203, 208, 210, 212 De Quincey, Thomas 36 in Brahms’s music 210 Diaghilev, Sergei double endings (in Wagner and Strauss) ‘World of Art’ 55 134–5, 161, 171, 174 Dilthey, Wilhelm 294 and lateness 227 D’Indy, Vincent 229 in Mahler’s music 195, 197, 198, Dionysus/Dionysian 58, 59, 60, 61, 101, 284, 312 201, 202 and the dandy 72 in Rachmaninov’s music 97, 106–7, 111 Dionysian forgetting 152, 153, 162 in romantic music 176 Dionysian intoxication 65, 67–8, 69, 199 in Schreker’s music 219 Dionysian pessimism 65, 66–9 in Scriabin’s music 97, 104 Dionysian Poland 44, 313–15 in Szymanowski 331 Dionysian suffering 174 in Wagner 134, 145, 155, 180–1, 217 in Barto´k’s music 120 Engel, Yuli 233 in Karłowicz’s music 84, 85, 86, 88, 89, 91, epigonism 28, 97, 210, 226, 228, 92, 93, 94, 95–6 321, 324 in Mahler’s music 196, 197 ethnosymbolism 2 in Nietzsche’s music 287, 288, 291, 294, Euripedes 297, 298 The Bacchae 326 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76757-6 - Music and Decadence in European Modernism: The Case of Central and Eastern Europe Stephen Downes Index More information 364 Index exhaustion 24, 40, 45, 69, 78 Hegel, Georg Wilhelm Friedrich, 25 see also sickness Lectures on the Philosophy of World History 37 expressionism 7, 24, 95, 124, 224, 238, Hegelianism 35, 59, 176 250, 269 Heine, Heinrich 67 Hepokoski, James 78, 185, 252, 253 femme fatale 47, 161, 186 Heraclitus 35, 36, 297 fin de sie`cle 47, 53, 163, 186, 194, 208, 225, 226, Herder, Johann Gottfried 46, 66 227, 228, 239, 246, 278, 279 Hippius, Vladimir 56 Fitelberg, Grzegorz 96 Hirschfeld, Robert 251, 253 Flaubert, Gustave 36 Hocke, Gustav Rene´ 238 Fontane, Theodor 50 Hoffmann, E.
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  • Strauss US 13/8/07 2:59 Pm Page 5

    Strauss US 13/8/07 2:59 Pm Page 5

    570297bk Strauss US 13/8/07 2:59 pm Page 5 offered four songs with orchestral accompaniment, with ‘o Glück!’( ‘O happiness!’) in music penetrated again Hilko Dumno four more songs in 1898 in Op. 36. Op. 37, in the same and again by shafts of light. Hilko Dumno studied the piano, chamber music and song form at the year, offered six songs, with texts by various writers, The present recording contains songs from the Musikhochschule in Detmold and Franfurt am Main. His teachers included Gregor STRAUSS dedicated to Strauss’s wife. Ich liebe dich (I love you) # earlier part of Strauss’s long career, but he continued to Weichert, Rainer Hoffmann, Tabea Zimmermann and Charles Spencer. He held takes a poem by the soldier-writer Detlev von write songs throughout his life, with the Four Last Songs scholarships from the German Music Council, Villa Musica Mainz and the Yehudi Liliencron, a heroic pledge of loyalty. composed in 1948, the year before his death. They make Menuhin Foundation. Hilko Dumno has appeared regularly with Christoph Songs of Love and Death Op. 39 brings five more songs and chronologically up an important and essential part of German Lieder Prégardien, Christine Schäfer, Hedwig Fassbender, Julia Kleiter and Johannes the last of those included here, Befreit (Set Free) ^, a tradition, a remarkable contribution by a musician of the Schende as their partner at the Schleswig-Holstein Festival, the Schwarzenberg Allerseelen • Zueignung • Rote Rosen setting of a poem by Richard Dehmel, a friend of greatest versatility. Schubertiade, the Dresden Music Festival, the Lucerne Festival and the Amadeus Liliencron and a prolific writer.
  • Strauss During the War Years Author(S): Willi Schuh Source: Tempo, No

    Strauss During the War Years Author(S): Willi Schuh Source: Tempo, No

    Strauss during the War Years Author(s): Willi Schuh Source: Tempo, No. 13 (Dec., 1945), pp. 8-10 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/944389 Accessed: 08-11-2017 01:41 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Tempo This content downloaded from 70.103.220.4 on Wed, 08 Nov 2017 01:41:41 UTC All use subject to http://about.jstor.org/terms 8 TEMPO STRAUSS DURING THE WAR YEARS By Willi Schuh little in common as with those previous to WJ HEN arrangements the second for the world celebration war of began, it. Strauss has always gone his own way, Strauss's seventy-fifth birthday had as the artist he wanted solely to be, without been. completed despite the shadows cast caring for worldly favours. As a member by the approaching catastrophy. They of an older generation he was unable to culminated in performances of six Strauss perceive that things were happening which operas which, given before an audience were not only at variance with the world he still international in character at the Munich had grown up in, but were alien to the whole State Opera in August 1939, testified to concept of European civilization.