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Cambridge University Press 978-1-107-00871-7 - After Mahler: Britten, Weill, Henze and Romantic Redemption Stephen Downes Index More information

Index

Abgesang, 12, 121, 227 Apollinaire, Guillaume, 153 and fulfilment, 227 Applegate, Celia, 240 as area of freedom, 227 Aragon, Louis, 177 Adler, Guido, 72, 80 Auden, W.H., 83, 89, 224, 226, 232 Adorno, Theodor W., 84 Look, Stranger,88 on authenticity, 13, 135, 145, 146, 147, 151, Auerbach, Erich, 203 171, 181, 196 on Benjamin, 177, 179 Bach, Johann Sebastian, 214, 232, 233, 236, 251 on Berg, 236 as regenerative symbol, 234 on Berg, Violin Concerto, 197 Bachmann, Ingeborg, 221 on breakthrough, 12, 53 Bacon, Francis, 5 on Britten, 204 Banfield, Stephen, 89 on collapse, 13, 22 Barringer, Tim, 60–2, 96, 128 on fulfilment, 12, 13, 19, 22, 53, 222, 227 Barry, Barbara, 76 on Henze, 207 Bartók, Béla, 196 on kitsch, 13 Batka, Richard, 168 on Mahler, Das Lied von der Erde, 182 Baudelaire, Charles, 153, 178 on Mahler, ‘Liebst du um Schönheit’, 252 Bauer-Lechner, Natalie, 80, 144, 233 on Mahler, Symphony no. 4, 136–44, 171 Bauman, Zygmunt, 23 on Mahler, Symphony no. 7, 161–8 Baxandall, Michael, 4, 5 on Mahler, Symphony no. 8, 47 Beethoven, Ludwig van, 77, 79, 134, 146, 147, on Mahler, Symphony no. 9, 171, 174 151, 168, 201 on Mahler’s death mask, 252 Symphony no. 4, 242 on montage, 171, 178 Symphony no. 5, 159 on negation, 17, 71, 80, 171, 196 Symphony no. 8, 242 on Schoenberg, 173, 175, 196 Symphony no. 9, 76, 107, 202, 242 on Stravinsky, 171, 172, 173, 175 Benjamin, Walter, 14 on surrealism, 132, 171, 173 on allegory, 31, 132, 178 on the backward glance, 94 on aura, 177, 182 on the moment, 145, 147, 159, 178 on authenticity, 17 on the repression of Mahler, 197 on constellation, 178 on utopia, 14 on redemption, 17 on Weill and shock, 172 on shock, 148, 178 on Weill, Aufstieg und Fall der Stadt on surrealism, 131–2, 177 Mahagonny, 188 on temporality, 30, 86 on Weill, Die Dreigroschenoper, 187, 190 on utopia, 14, 16 on Weill, Violin Concerto, 170 The Origin of German Tragic Drama, 16, 30 Agawu, Kofi, 151, 152, 251 Berg, Alban, 14, 243 allegory, 16, 27–32, 47, 48, 49, 50, 54, 59, 84, Lulu, 225 121, 132, 159, 184, 191 Lyric Suite, 221, 237 allusion, 2, 6, 7, 8, 55, 64, 71, 102, 107, 108, 115, Three Pieces for Orchestra, 236 125, 146, 155, 158, 204, 205, 214, 219, Violin Concerto, 197, 236 220, 221, 232, 233, 236, 239, 247, 249 Bergson, Henri, 169 271

© in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00871-7 - After Mahler: Britten, Weill, Henze and Romantic Redemption Stephen Downes Index More information

272 Index

Berio, Luciano, 151 brokenness, 11, 13, 17, 59, 83, 149, 179, 187, Bethge, Hans, 222, 249 216, 223 Blake, William, 61 Bruckner, Anton, 201 ‘The Sick Rose’, 61, 127, 128 Buhler, James, 227 Blanchot, Maurice, 131, 132 Bürger, Peter, 155 Bloch, Ernst, 14, 16 on the allegorist, 179 Bloom, Harold, 4 Busoni, Ferruccio, 170, 191 Bohrer, Karl Heinz, 132 Bokina, John, 226 Cézanne, Paul, 5 Bork, Camilla, 38 Chew, Geoffrey, 155 Boulez, Pierre, 198, 199 Chopin, Fryderyk, 237, 238 Boys, Henry, 93 collapse, 26, 72, 222 Brahms, Johannes, 8, 148, 201, 237, 238 Cook, Susan, 155 Symphony no. 1, 237 Cooke, Deryck, 10, 11 Symphony no. 2, 76 Cunningham, David, 131 breakthrough, 15, 59, 71, 77, 86, 132, 232, 241 Brecht, Bertolt, 135, 172, 186, 187, 188, 189, Dahlhaus, Carl, 8, 9, 65, 84, 180, 224 190, 233, 237, 238, 239 Daverio, John, 8 Breton, André, 131, 132, 153 de Man Paul, 27 Brett, Philip, 24, 25, 26, 71, 96, 97, 118 Debussy, Claude, 221 Bridge, Frank, 79, 96, 100 ‘Golliwog’s Cakewalk’ (Children’s Corner Idylls for String Quartet, 111 Suite), 221 on Mahler, 83 Drew, David, 176 Phantasy for Piano, Violin, Viola and Cello, 86 Piano Sonata, 87 Eimert, Herbert, 196 The Sea,83–6, 89, 96 Elgar, Edward, 78 Britten, Benjamin, 2, 3, 6, 8, 9, 23, 24, 59, 200, Eliot, T.S., 4, 26 240, 244 epigonism, 3, 204, 206 on Bridge’s Phantasy, 87 Euripides cadences (compared to Mahler), 66, 100 The Bacchae, 224 diatonic simplicity, 65–6 Evans, Peter, 62, 73, 100, 116, 118 on Mahler, 77–80, 83, 93, 253 exile, 3, 23, 202, 203 and negation, 26 expressionism, 16, 153, 154, 160, 176, 177, 181, and redemption, 26 190, 198, 204, 206 and romanticism, 25, 60–5, 69, 72, 96, 116, 205 Floros, Constantin, 48, 100, 136, 162, 168 and utopia, 27 Forte, Allen, 215 works Franklin, Peter, 57, 176, 252 ‘Before Life and After’, Winter Words freedom, 9, 12, 25, 53, 197, 199, 204, 207, (Hardy), 73 226, 233 Death in Venice, 118–27, 128 Freud, Sigmund, 169, 208, 234 Peter Grimes, 62, 96–104 Frisch, Walter, 8, 233 Piano Concerto, 68 fulﬁlment, 2, 15, 27, 31, 32, 53, 66, 71, 223, 224, ‘Seascape’, On this Island (Auden), 232, 253 87–94, 96 Serenade for Tenor, Horn and Strings Op.31, Geck, Martin, 17, 18 60–3, 96, 127–30 Goehr, Lydia, 23, 188 Seven Sonnets of Michelangelo,62 Goethe, Johann Wolfgang von, 18, 28, 31, 192 Sinfonia da Requiem, 26, 27, 61, 107–11 Faust, 48, 49–50, 117 ‘Sokrates und Alcibiades’ (Hölderlin), 71, Goll, Iwan, 153–5, 158, 160, 175, 178, 186, 114–16, 118 188, 191 Variations on a Theme of Frank Bridge Graf, Max, 67 Op.10, 111–13 Grant, Duncan, 5

Index 273

Griffiths, Paul, 239 Tristan, 237–8, 240, 241, 244 Gutmann, Emil, 47 We Come to the River, 239 Hindemith, Paul, 196 Halmi, Nicholas, 28 Hindley, Clifford, 118, 121, 126 Harris, Alexandra, 60, 96 Hinton, Stephen, 152, 189, 190, 192, 194 Hartmann, Karl Amadeus, 202 Hirsch, Marjorie W., 18, 76 Hatten, Robert, 27, 146, 239 historicism, 8, 9, 233 Hefling, Stephen, 222 Hockney, David, 5 Hegel, Georg Wilhelm Friedrich, 65, 131, Hoeckner, Berthold, 22, 107, 146 146, 200 Hoffmann, E.T.A., 168 Heile, Björn, 242 Hölderlin, Friedrich, 204, 205, 206, 243–4 Henri, Adrian, 1 Henze, Hans Werner, 2, 3, 6, 8, 23, 24, 59 idealism, 10, 18, 29, 49, 72 on Adorno, 199, 204, 205 idyll, 10, 13, 19, 22, 30, 59, 67, 75, 85, 205, 223 on Britten, 204 influence, 2, 4, 5, 6, 27, 80, 111, 135, 170, and Darmstadt, 198 176, 237 on Mahler, 201, 208, 221, 225, 227, intertextuality, 4, 6, 151, 186, 197, 233, 232, 233 235, 249 move to Italy, 199 Ives, Charles, 151 on negation, 235 as outsider, 202 Jacobs, Walther, 170 as romantic, 205, 206, 224, 240 Jarman, Douglas, 135 on Stravinsky, 204 Jarry, Alfred, 153 and the symphony, 202, 206, 207, 225, 237, Johnson, Julian, 11, 76 240, 241–2 Josipovici, Gabriel, 15 on Wagner, 225 Jung, Carl, 234 on Webern, 198 Jungheinrich, Hans-Klaus, 241 works Antifone, 206 Kafka, Franz, 15, 208 Barcarola, 241 Kaiser, Georg, 153, 189, 191 The Bassarids, 224–36, 237, 240 Kalbeck, Max, 148, 168, 169 Being Beauteous (Rimbaud), 209–10, 214–20, Kallman, Chester, 224, 226, 232 224, 244 Kandinsky, Wassily, 16 Der junge Lord, 221, 223–4, 233 Kangas, Ryan R., 76 Der Prinz von Homburg, 204 Karajan, Herbert von, 225 Five Neapolitan Songs, 200 Keller, Hans, 66, 77, 91, 100, 128, 199, Heliogabalus Imperator, 241 200, 216 Kammermusik 1958, 204–6 on Mahler, 226 König Hirsch, 200, 207 Kelley, Theresa M., 29 La Cubana oder ein Leben für die Kunst, 237 Kemp, Ian, 192, 195 Nachtstücke und Arien, 200, 206 Kierkegaard, Søren, 15, 132 Natascha Ungeheuer, 236 kitsch, 13, 16, 190, 200 Ode an den Westwind, 206 Kittler, Friedrich, 158 Requiem, 241 Knapp, Raymond, 149 Sechs Gesänge aus dem Arabischen, Kokoschka, Oskar, 154 244–9, 251 Kovnatskaya, Ludmilla, 97 Symphony no. 1, 207 Kowalke, Kim, 181 Symphony no. 2, 207 Kramer, Lawrence, 6, 107, 159, 182 Symphony no. 3, 207 Krebs, Carl, 145 Symphony no. 4, 207 Křenek, Ernst Symphony no. 5, 207 on Mahler as surrealist, 133 Symphony no. 7, 241–4 Kristeva, Julia, 233 Symphony no. 9, 241 Kurtág, György, 205

274 Index

La Grange, Henry-Louis de, 47 Symphony no. 8, 12, 15, 47–8, 49–57, 59, 79, Lachenmann, Helmut, 205 117, 185, 190 on Henze, 205–6 Symphony no. 9, 12, 13, 24, 57–8, 59, 76, 79, ‘last’ symphony, 241–3 102, 107, 108, 172, 252 lateness, 4, 6, 10, 206, 208, 234, 242, 245, 252 ‘‘Um Mitternacht’ (Rückert), 43–5, 59, 224 Leibowitz, René, 196, 199 Mann, Golo, 103 Leppert, Richard, 13 Mann, Thomas, 15, 75, 103, 118, 127, 225, 240 Lethem, Jonathan, 6 Death in Venice, 117, 118 Levin, Thomas, 159 Doctor Faustus, 127, 128, 242–3 Lewis, Wyndham, 5 on Hölderlin, 117 Lipiner, Siegfried, 48, 49 mannerism, 3 Lowenthal, Leo, 14 Mark, Christopher, 80, 108 Marschalk, Max, 18 Mahler, Alma, 49, 116, 154, 220 Martin, Bernice, 1 Mahler, Gustav, 6 Marx, Karl, 200 and psychoanalysis, 225 McCartney, Paul, 1 as kitsch, 200 McConkey, Kenneth, 84 on Plato’s Symposium, 116 Mellers, Wilfrid, 111 as romantic, 10, 11, 13, 18, 25, 31, 32, 58, 151, Mitchell, Donald, 57, 67, 135, 190 203, 238, 252 moment, 31, 53, 134, 146, 152, 160, 232 works Monelle, Raymond, 31, 151, 152, 238 ‘Blumine’, 66, 68 montage, 134, 152, 160, 162, 168, 171, 172, 173, Das Lied von der Erde, 11, 12, 78, 182, 252 177, 187, 195, 202, 236, 237 ‘Das Trinklied vom Jammer der Erde’, 206, Monteverdi, Claudio, 239 221–3 Moore, Henry, 5 ‘Der Abschied’, 93, 249–51 Mozart, Wolfgang Amadeus, 77, 83, 239 ‘Von der Schönheit’,94–5 Musil, Robert, 208 ‘Ich bin der Welt abhanden gekommen’ (Rückert), 38–9, 59, 66, 249 naïve, 8, 14, 15, 16, 19, 20, 67, 68, 71, 72, 73, 75, Kindertotenlieder (Rückert), 78, 108 76, 77, 83, 87, 89, 90, 107, 111, 128, 147, ‘Nun seh’ ich wohl, warum so dunkle 149, 205, 220 ﬂammen’, 246–8 negation, 3, 13, 16, 22, 26, 58, 100, 107, 108, ‘Liebst du um Schönheit’ (Rückert), 34–8, 59, 117, 147, 159, 198, 222, 224, 231, 235, 66, 249, 252 243, 252 Lieder eines fahrenden Gesellen, 73, 78 Nelson, Thomas, 29, 31, 53 ‘Die zwei blauen Augen von meinem neoclassicism, 8 Schatz’,23 Neruda, Pablo, 239 ‘Ging heut Morgen übers Felt’, 19, 20 Neumann, Erich, 234 ‘Ich hab’ ein glühend Messer’,22 Depth Psychology and a New Ethic, 234 ‘Revelge’ (Das Knaben Wunderhorn), 135 Newcomb, Anthony, 76 Symphony no. 1, 67, 68, 178 Nicholson, Ben, 5 Symphony no. 2, 130, 160, 208 Niekerk, Carl, 76 ‘Urlicht’,32–5, 59, 76 Nietzsche, Friedrich, 15, 30, 48, 58, 118, 132, Symphony no. 3, 12, 67, 76 232, 234 Symphony no. 4, 6, 13, 39–43, 59, 76, 77, 79– The Birth of Tragedy,30 80, 135–52, 172, 182, 221, 224 The Case of Wagner,31 Symphony no. 5, 11, 12, 39, 59, 78, 100, 136, nihilism, 10, 16 145, 227, 233, 237 Nono, Luigi, 205 Adagietto, 210, 211–13, 214, 219, 234 Novalis, 179, 203 Symphony no. 6, 11, 12, 46–6, 59, 107, 155 Symphony no. 7, 11, 135, 161–70, 171, 172, Paddison, Max, 173 182, 224 Painter, Karen, 31, 134, 185, 202 early reception, 168–9 Palmer, Christopher, 118, 127

Index 275

Palmer, Samuel, 61 sentimental, 8, 9, 15, 30, 61, 65, 67, 68, 69, 72, Peattie, Thomas, 83 75, 76, 83, 87, 89, 107, 108, 126, 128, 150, pessimism, 10, 15, 17, 19, 30 190, 191, 205, 214, 224, 238, 256 Petersen, Peter, 237, 238 Shawe-Taylor, Desmond, 96 Picasso, Pablo, 5, 255 Sheinbaum, John, 14–15 picturesque, 60, 83, 84, 85, 89, 96, 120 Solomon, Maynard, 76 Piper, John, 60 Solvik, Morten, 10 British Romantic Artists,61 Specht, Richard, 168 Piper, Myfanwy, 118 Stockhausen, Karl-Heinz, 151, 196, 198, 199 Platen, August von, 203, 219 Strauss, Richard, 78 Plato Stravinsky, Igor, 26, 108, 151, 170, 171, 196, Symposium, 116–17 204, 236 L’Histoire du Soldat, 171–3, 175, 187 realism, 3, 10, 135, 153 Petrushka, 175 Reger, Max, 8, 233 The Rite of Spring, 236 rest, 25, 29, 47, 49, 52, 56, 62, 66, 71, Symphony in C, 207 102, 115 Symphony in Three Movements, 207 Reverdy, Pierre, 153 Subotnik, Rose Rosengard, 147, 159 Revers, Peter, 169 suddenness, 132 Reynolds, Christopher Alan, 7 surrealism, 131–3, 152, 153, 160, 169, 170, 171, Richter, Sviatoslav, 68 173, 176, 177, 187, 189, 198 Rihm, Wolfgang, 205 suspension, 15 Rilke, Rainer Maria, 154 Sutherland, Graham, 5, 60 Rimbaud, Arthur, 209, 216 Symbolism, 16 Ringer, Alexander, 135, 175 romantic fragment, 131, 149, 179 Thomas, Calvin, 150 romantic redemption, 2, 3, 12, 15, 19, 31, 59, totalitarianism, 14, 16, 196 155, 185, 189, 192, 195, 205 tradition, 3, 5, 7, 8, 9, 14, 15, 23, 60, 61, 202, 203, romantic symbol, 25, 27–32, 47, 48, 55, 58, 59, 204, 205, 207, 208, 229, 239, 240, 241 121, 132, 191, 249 Trakl, Georg, 202 Rückert, Friedrich, 38, 203, 244, 249 utopia, 3, 10, 13, 14, 15, 16, 27, 56, 83, 84, 132, Said, Edward, 6, 203 151, 179, 189, 195, 198, 205, 208, 244, 249 Samuels, Robert, 11, 39 scepticism, 9, 10, 15, 16, 57, 58, 72 Vaughan Williams, Ralph, 61, 62, 87 Schiff, David, 151, 152 Verdi, Giuseppe, 83 Schiller, Johann Christoph Friedrich von, 9, 15, Verlaine, Paul 18, 83, 107, 121, 126, 131, 205 ‘Chanson d’Automne’, 127 ‘On Naïve and Sentimental Poetry’, 18, 75–6 Vincent-Arnaud, Nathalie, 88 Schlegel, Friedrich, 29, 132, 149, 179 Schnoor, Hans, 170 Wackers, Ricarda, 155, 184, 186 Schoenberg, Arnold, 133, 160, 175, 181, Wagner, Richard, 8, 26, 30, 31, 65, 89, 148, 188, 204, 207 201, 237, 238, 243, 245 Five Orchestral Pieces, Op.16, 176 ‘Beethoven’, 45, 49, 58 ‘Ich darf nicht dankend’, Op.14. no. 1 Die Meistersinger,65 (Georg), 180 Götterdämmerung, 224 Pierrot lunaire, 175 ‘Religion and Art’, 48, 52, 58 Variations for Orchestra, Op. 31, 176 Tannhäuser, 158 Schubert, Franz, 7, 8, 73, 189 Tristan und Isolde, 13, 120, 180, 219, 225, 243 Die schöne Müllerin, 205 Walter, Bruno, 57, 68, 78, 93 Schumann, Robert, 8, 201 Weber, Max, 14 Schweben, 29, 30, 50, 53, 57 Webern, Anton von, 52, 196, 198, 236 Seelig, Harry E., 116 compared to Mahler, 198

276 Index

Weill, Kurt, 2, 3, 6, 8, 23, 59 Mahagonny Songspiel, 175, 187 on Mahler, 24, 25, 134, 253 Royal Palace, 186 and romanticism, 189, 190, 195 String Quartet Op. 8, 172 on Stravinsky, 172 Violin Concerto, 135, 170, 176, 179–80, 181 works White, Alan, 232 Aufstieg und Fall der Stadt Mahagonny, Whittall, Arnold, 9, 26, 62, 65, 71, 108, 115, 188, 190 239, 240, 241, 245 Der neue Orpheus, 135, 153, 154–61, 170, Williams, Alistair, 197 172, 176, 179, 186, 195 Williamson, John, 11, 47 Der Protagonist, 189, 191 Wolin, Richard, 14, 16 Der Silbersee, 191–5 Wordsworth, William, 252 Die Dreigroschenoper, 182, 187, 191, 238 Happy End, 191 Youens, Susan, 73