Musical Modernism and German Cinema from 1913 to 1933

Musical Modernism and German Cinema from 1913 to 1933 Francesco Finocchiaro Musical Modernism and German Cinema from 1913 to 1933 Francesco Finocchiaro University of Vienna Vienna, Austria

ISBN 978-3-319-58261-0 ISBN 978-3-319-58262-7 (eBook) DOI 10.1007/978-3-319-58262-7

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This Palgrave Macmillan imprint is published by Springer Nature The registered company is Springer International Publishing AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland To Gabriella and Aurora Acknowledgements

This monographic study is the main editorial product of a “Lise Meitner” biennial research project (2013–2015), generously fnanced by the Austrian Science Fund (FWF), and carried out at the University of Vienna. Among the institutions that have given scientifc and institutional support to my research project I would like to thank the Historical Archive of Universal Edition, Vienna, represented by Katja Kaiser; the Musiksammlung of the Österreichische Nationalbibliothek and its director Thomas Leibnitz; the Deutsche Kinemathek in Berlin, in particular the library director Ines Kolbe and the manager of the periodicals section Cordula Döhrer; the Archive of the Akademie der Künste and the Staatsbibliothek in Berlin, as well as the Österreichische Forschungsgemeinschaft, the Arnold Schönberg Center in Vienna and the Richard Strauss Institut in Garmisch-Partenkirchen; the Library of the Musicology Institute of Vienna University, represented by its director Benedikt Lodes; the Library of the Arts Department of Bologna University and its director Marinella Menetti; the Cineteca di Bologna, in particular the contact for the periodicals and audiovisual section, Marco Persico. I would like to express my sincere gratitude to Professor Michele Calella, who encouraged and supported the project since its very incep- tion. But this is not the only reason why I am indebted to Michele Calella: I am also grateful to him for the interest he showed throughout

vii viii Acknowledgements the progress of my research, always offering me his passionate, expert guidance. I also owe a major debt of gratitude to my colleagues Gillian Anderson, Julie Brown, Christy Thomas, Tobias Plebuch, Claus Tieber, Anna Katharina Windisch, Hartmut Krones, Nikolaus Urbanek, Eike Feß, Adele Lyon, Annika Forkert, Maria Fuchs, Roberto Calabretto, Leonardo Quaresima, Federico Celestini, Sergio Miceli, Carlo Piccardi, Maurizio Giani, Graziella Seminara, Anna Ficarella, Mauro Bertola and Ornella Calvano, for the hints and suggestions that they have kindly given me during the inspiring conversations I had with them. Among the friends and colleagues of the Vienna Institute of Musicology I would like to thank Birgit Lodes, Christoph Reuter, Stefan Gasch, Ingrid Schraff, Sonja Tröster, Scott L. Edwards, John D. Wilson, Martina Grempler, Sabine Ladislav, Barbara Babic, Carolin Krahn and Melanie Strumbl, for their precious support, and for the patience and dedication with which they have embraced my project. A special thank-you goes to Julia Bungardt, Henriette Engelke, Zafreen Qureshi, Krzysztof Walewski and Machteld Venken, Daniel and Katja Haberkorn. This book has been translated from Italian by Elisabetta Zoni and Alex Glyde-Bates. I would like to thank them for their support.

Milan Francesco Finocchiaro September 2015 Contents

1 Introduction: The Cinematic Paradigm 1

2 Prologue: Cinema and the Arts 13

3 Cinema and Expressionist Drama 29

4 Paul Hindemith and the Cinematic Universe 45

5 Edmund Meisel: The Cinematic Composer 67

6 Der Rosenkavalier: A Problematic Remediation 85

7 Cinema and Musical Theatre: Kurt Weill and the Filmmusik in Royal Palace 105

8 Alban Berg, Lulu, and Cinema as Artifce 127

9 New Objectivity and Abstract Cinema 149

10 Between Film Music and Chamber Music 195

ix x Contents

11 Epilogue: The Dawn of Sound Cinema 221

Bibliography 239

Index 253 List of Figures

Chapter 4 Fig. 1 Arnold Fanck—Paul Hindemith, Im Kampf mit dem Berge 52 Fig. 2 Arnold Fanck—Paul Hindemith, Im Kampf mit dem Berge 56 Fig. 3 Arnold Fanck—Paul Hindemith, Im Kampf mit dem Berge 57 Fig. 4 Arnold Fanck—Paul Hindemith, Im Kampf mit dem Berge 58 Fig. 5 Arnold Fanck—Paul Hindemith, Im Kampf mit dem Berge 64 Chapter 5 Fig. 1 Edmund Meisel, Suite aus der Originalmusik zu dem Tonflm ‘Panzerkreuzer Potemkin’ 76 Fig. 2 Sergei Eisenstein—Edmund Meisel, Panzerkreuzer Potemkin 78 Chapter 6 Fig. 1 Robert Wiene—Richard Strauss, Der Rosenkavalier 97 Fig. 2 Robert Wiene—Richard Strauss, Der Rosenkavalier 98 Fig. 3 Robert Wiene—Richard Strauss, Der Rosenkavalier 99 Chapter 8 Fig. 1 Alban Berg, Opernplan, F21 Berg 28/III f.39 verso 130 Fig. 2 Alban Berg, Opernplan, F21 Berg 28/III f.39 recto 132 Fig. 3 Alban Berg, Lulu, Act II, Interlude, Szenarium 136 Chapter 9 Fig. 1 Walter Ruttmann—Max Butting, Lichtspiel Opus 1 158 Fig. 2 Walter Ruttmann—Max Butting, Lichtspiel Opus 1 159 Fig. 3 Walter Ruttmann—Max Butting, Lichtspiel Opus 1 161 Fig. 4 Walter Ruttmann—Max Butting, Lichtspiel Opus 1 162

xi xii List of Figures

Fig. 5 Walter Ruttmann—Hanns Eisler, Opus 3 172 Fig. 6 Walter Ruttmann—Hanns Eisler, Opus 3 172 Fig. 7 Walter Ruttmann—Hanns Eisler, Opus 3 173 Fig. 8 Walter Ruttmann—Hanns Eisler, Opus 3 174 Fig. 9 Hans Richter—Walter Gronostay, Alles dreht sich, alles bewegt sich 188 Chapter 10 Fig. 1 Arnold Schönberg, Gefahr—Angst, T59.07.12r and transcription 208 Chapter 11 Fig. 1 Georg Wilhelm Pabst—Kurt Weill, 3Groschenoper 228 Fig. 2 Victor Trivas—Hanns Eisler, Niemandsland 234 Fig. 3 Victor Trivas—Hanns Eisler, Niemandsland 234 List of Music Examples

1. Paul Hindemith, Im Kampf mit dem Berge (1921), Act I, bars 1–8 50 2. Paul Hindemith, Im Kampf mit dem Berge (1921), Act I, bars 18–26 51 3. Paul Hindemith, Im Kampf mit dem Berge (1921), Act I, bars 43–50 51 4. Paul Hindemith, Im Kampf mit dem Berge (1921), Act I, bars 61–64 52 5. Paul Hindemith, Im Kampf mit dem Berge (1921), Act I, bars 75–78 53 6. Paul Hindemith, Im Kampf mit dem Berge (1921), Act I, bars 104–120 54 7. Paul Hindemith, Im Kampf mit dem Berge (1921), Act I, bars 272–280 55 8. Paul Hindemith, Im Kampf mit dem Berge (1921), Act II, bars 131–138 57 9. Paul Hindemith, Im Kampf mit dem Berge (1921), Act II, bars 171–186 59 10. Paul Hindemith, Im Kampf mit dem Berge (1921), Act II, bars 395–402 60 11. Paul Hindemith, Im Kampf mit dem Berge (1921), Act III, bars 1–12 61 12. Paul Hindemith, Im Kampf mit dem Berge (1921), Act III, bars 394–417 62 13. Edmund Meisel, Panzerkreuzer Potemkin (1926), Act I, bars 1–6 75 14. Edmund Meisel, Panzerkreuzer Potemkin (1926), Act I, bars 79–82 75 15. Edmund Meisel, Panzerkreuzer Potemkin (1926), Act I, bars 7–14 77 16. Edmund Meisel, Panzerkreuzer Potemkin (1926), Act III, bars 1–19 79 17. Edmund Meisel, Panzerkreuzer Potemkin (1926), Act IV, bars 140–143 80

xiii xiv List of Music Examples

18. Richard Strauss, Der Rosenkavalier (1926), Act I, no. 11 95 19. Richard Strauss, Der Rosenkavalier (1926), Act I, no. 12 96 20. Richard Strauss, Der Rosenkavalier (1926), Act I, no. 23 97 21. Richard Strauss, Der Rosenkavalier (1926), Act II, no. 352 100 22. Paul Hindemith, Cardillac (1926), Act I, no. 6 Pantomime 110 23. Kurt Weill, Royal Palace (1927), bars 63.11–63.14 120 24. Kurt Weill, Royal Palace (1927), bars 64.8–64.11 120 25. Kurt Weill, Royal Palace (1927), bars 65.6–66.2 121 26. Kurt Weill, Royal Palace (1927), bars 67.2–68.1 121 27. Kurt Weill, Royal Palace (1927), bars 69.2–70.2 121 28. Kurt Weill, Royal Palace (1927), bars 75.1–75.6 122 29. Alban Berg, Lulu (1937), Act II, Interlude, bars 685–689 139 30. Alban Berg, Lulu, Lulu Series 140 31. Alban Berg, Lulu, Trope III and Basic Cell V 140 32. Alban Berg, Lulu (1937), Act II, Interlude, bars 656–657 141 33. Alban Berg, Lulu (1937), Act II, Interlude, bars 674–677 142 34. Max Butting, Lichtspiel Opus 1 (1921), bars 1.1–3.7 160 35. Max Butting, Lichtspiel Opus 1 (1921), bars 5.2, 5.7, 6.1–6.2, 9.1 163 36. Max Butting, Lichtspiel Opus 1 (1921), bars 36a.1–8 164 37. Hanns Eisler, Praeludium in Form einer Passacaglia (1927), bars 1–6 171 38. Hanns Eisler, Praeludium in Form einer Passacaglia (1927), bars 11–14 171 39. Hanns Eisler, Praeludium in Form einer Passacaglia (1927), bars 26–35 173 40. Hanns Eisler, Praeludium in Form einer Passacaglia (1927), bars 41–46 173 41. Hanns Eisler, Praeludium in Form einer Passacaglia (1927), bars 52–55 174 42. Paul Dessau, Episode (1929), bars 1–4 184 43. Walter Gronostay, Alles dreht sich, alles bewegt sich (1929), no. 25 (Athletenkünste) 190 44. Paul Dessau, Alice und der wilde Westen (1928), bars 218–225 199 45. Arnold Schönberg, Begleitungsmusik zu einer Lichtspielszene op. 34 (1930), bars 1–3 205 46. Franz Schreker, Vier kleine Stücke (1929), no. 1 Timoroso, bars 2–3 213 47. Franz Schreker, Vier kleine Stücke (1929), no. 2 Violente, bars 1–8 214 48. Franz Schreker, Vier kleine Stücke (1929), no. 3 Incalzando, bars 1–5 215 49. Franz Schreker, Vier kleine Stücke (1929), no. 4 Gradèvole, bars 3–6 215 50. Franz Schreker, Vier kleine Stücke (1929), no. 4 Gradèvole, bars 48–55 215 List of Music Examples xv

51. Josef Matthias Hauer, Musik-Film op. 51 (1927), no. 1 Erwartung, bars 1–4 217 52. Josef Matthias Hauer, Musik-Film op. 51 (1927), no. 14 Andante, bars 1–4 217 53. Josef Matthias Hauer, Musik-Film op. 51 (1927), no. 12 Sturm, bars 1–16 218 54. Hanns Eisler, Niemandsland (1931), Vorspiel, bars 9–16 232 55. Hanns Eisler, Niemandsland (1931), Act II, Brass call 233 56. Hanns Eisler, Orchestersuite no. 2 op. 24 (Niemandsland) (1931), Andante, bars 2–6 235 List of Movies

Die Abenteuer des Prinzen Achmed (Lotte Reiniger, Comenius-Film, 1926) Alexander Nevsky (Sergei Eisenstein, Mosflm, 1938) Alice und der Selbstmörder (Alice Helps the Romance) (Walt Disney, Walt Disney Productions, 1926) Alice und der wilde Westen (Alice in the Wooly West) (Walt Disney, Walt Disney Productions, 1926) Alice und die Flöhe (Alice’s Monkey Business) (Walt Disney, Walt Disney Productions, 1926) Alice und ihre Feuerwehr (Alice the Fire Fighter) (Walt Disney, Walt Disney Productions, 1926) Alles dreht sich, alles bewegt sich (Hans Richter, Tobis, 1929) Der Andere (Max Mack, Vitascope, 1913) Eine “beinliche” Angelegenheit (Hans Manninger, Ima-Film, 1922) Berlin. Die Sinfonie der Großstadt (Walter Ruttmann, Deutsche Vereinsflm, 1927) Der blaue Engel (Josef von Sternberg, Ufa, 1929-30) Die Büchse der Pandora (Georg Wilhelm Pabst, Nero-Film, 1929) Bronenosec Potëmkin (Sergei Eisenstein, Goskino, 1925 | Prometheus, 1926) Das Cabinet des Dr. Caligari (Robert Wiene, Decla-Film, 1920) Carmen (Ernst Lubitsch, Projektions-AG “Union”, 1918) City Lights (Charlie Chaplin, Charles Chaplin Productions, 1931) La dame aux camélias (Louis Mercanton, Pathé Frères, 1911) Die 3Groschenoper (Georg Wilhelm Pabst, Tobis, 1931) Dreiteilige Farbensonatine (Ludwig Hirschfeld-Mack, 1925) Entr’acte (René Clair, Rolf de Maré, 1924)

xvii xviii List of Movies

Episode (Hans Conradi, 1929) Felix der Kater im Zirkus (Pat Sullivan, German premiere 1927) Figaros Hochzeit (Max Mack, Terra-Film, 1919) Film ist Rhythmus (Hans Richter, 1923) Filmstudie (Hans Richter, 1928) Der fiegende Holländer (Hans Neumann, Harmonie-Film, 1918) La forêt enchantée (from L’horloge magique) (Władysław Starewicz, Les Films Louis Nalpas, 1928) Das fremde Mädchen (Mauritz Stiller, Svenska Biografteatern, 1913) Der Golem, wie er in die Welt kam (Paul Wegener, Projektions-AG “Union”, 1920) The Gold Rush (Charlie Chaplin, Charles Chaplin Productions, 1925) The Great Dictator (Charlie Chaplin, Charles Chaplin Productions, 1940) Der heilige Berg (Arnold Fanck, Ufa, 1926) Horizontal-vertical Orchestra (Viking Eggeling, 1924) L’horloge magique (Władysław Starewicz, Les Films Louis Nalpas, 1928) Images mobiles (Fernand Léger, 1924) Im Kampf mit dem Berge (Arnold Fanck, Berg- und Sportflm, 1921) Inferno (Francesco Bertolini et alii, Milano Films, 1911) Die Insel der Seligen (Max Reinhardt, Projektions-AG “Union”, 1913) Kampf um den Berg. Eine Hochtour vor 20 Jahren (Arnold Fanck, Ufa, 1941) Die Kinderfabrik (Charles Mintz, Paramount, German premiere 1928) Kuhle Wampe oder Wem gehört die Welt (Slatan Dudow, Prometheus, 1932) Der letzte Mann (Friedrich Wilhelm Murnau, Union Film, 1924) Lichtspiel Opus 1 (Walter Ruttmann, Ruttmann-Film, 1921) Lichtspiel Opus 2 (Walter Ruttmann, Ruttmann-Film, 1922) Liebelei (Elskovleg) (August Blom and Holger-Madsen, Nordisk Film, 1914) M—Eine Stadt such einen Mörder (Fritz Lang, Nero-Film, 1931) Madame Sans-Gêne (André Calmettes and Henri Desfontaines, Pathé Frères, 1911) Mat’ (Vsevolod Pudovkin, Meschrabpom-Rus, 1926) Die Meister des Wassers (Arnold Fanck, Berg- und Sportflm, 1920) Melodie der Welt (Walter Ruttmann, Tobis, 1929) Metropolis (Fritz Lang, Ufa, 1927) Das Mirakel (Michel Carre and Max Reinhardt, Ingeniuer Jos. Menchen, 1912-13) Modern Times (Charlie Chaplin, Charles Chaplin Productions, 1936) Niemandsland (Victor Trivas, Resco Filmproduktion, 1931) Nosferatu. Eine Symphonie des Grauens (Friedrich Wilhelm Murnau, Prana-Film 1922) Oktyabr’ (Sergei Eisenstein, Sovkino, 1928) Opus 1-2 see Lichtspiel Opus 1-2 List of Movies xix

Opus 3-4 see Ruttmann Opus 3-4 La p’tite Lilie (Alberto Cavalcanti, Pierre Braunberger, 1927) Rhythmus 21 (Hans Richter, 1921) Rhythmus 23 (Hans Richter, 1923) Rhythmus 25 (Hans Richter, 1925) Der Rosenkavalier (Robert Wiene, Pan-Film, 1926) Ruttmann Opus 3 (Walter Ruttmann, Kunstmaler W. Ruttmann, 1925) Ruttmann Opus 4 (Walter Ruttmann, Kunstmaler W. Ruttmann, 1925 | Tobis, 1927) Der scheintote Chinese (Lotte Reiniger, Deutscher Werkflm, 1928) Der Schimmelreiter (Hans Deppe and Curt Oertel, Rudolf Fritsch-Tonflm, 1934) Simfonija Donbassa (Dziga Vertov, Ukrainflm, 1931) Song. Die Liebe eines armen Menschenkindes (Schmutziges Geld) (Richard Eichberg, Eichberg-Film, 1928) Der Student von Prag (Stellan Rye, Deutsche Bioscop, 1913) Stürme über dem Montblanc (Arnold Fanck, Aafa-Film, 1930) Sumurun (Max Reinhardt, Deutsche Bioscop, 1910) Symphonie diagonale (Viking Eggeling, 1924) Venezianische Nacht (Max Reinhardt, Projektions-AG “Union”, 1913) Vormittagsspuk (Hans Richter, Hans Richter-Gesellschaft Neuer Film, 1928) Das Wunder des Schneeschuhs (Arnold Fanck, Berg- und Sportflm, 1919-20)