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Büchner's Woyzeck’, the German Quarterly, 61(1) (Winter, 1988), 78- 96 This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Precision and Soul The Relationship between Science and Religion in the Operas Wozzeck and Arabella Brooks, Marc Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 08. Oct. 2021 This electronic theses or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Title: Precision and Soul: The Relationship between Science and Religion in the Operas Wozzeck and Arabella Author: Marc Simon Brooks The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENSE AGREEMENT This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. http://creativecommons.org/licenses/by-nc-nd/3.0/ You are free to: Share: to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. PRECISION AND SOUL THE RELATIONSHIP BETWEEN SCIENCE AND RELIGION IN THE OPERAS WOZZECK AND ARABELLA MARC SIMON BROOKS REVISED VERSION SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY 22 APRIL 2013 (INITIAL SUBMISSION DATE, 30 SEPTEMBER 2011) KING’S COLLEGE LONDON 2 3 4 CONTENTS Acknowledgements 7 Abstract 9 INTRODUCTION A Sort of Introduction 11 PART I: NATURE, SCIENCE AND NUMBER IN WOZZECK Chapter 1 Büchner’s Woyzeck … 21 Chapter 2 … becomes Berg’s Wozzeck 41 Chapter 3 The ‘Mathematical’ 69 Chapter 4 The Utopia of Dangerous Experimentalism 101 PART II: SYMBOL, MYTH AND RITUAL IN ARABELLA Chapter 5 In Search of a New Dionysus 129 Chapter 6 The Word is not Enough 143 Chapter 7 The Lies We Tell Ourselves 161 Chapter 8 The Little Shop Girls Go to the Opera 185 BIBLIOGRAPHY 217 5 6 ACKNOWLEDGEMENTS Most of the research for this study was carried out under the sponsorship of the Arts and Humanities Research Council. I am greatly indebted to the AHRC for underwriting the cost of the fees as well as my living expenses for the duration of my time at King’s College. I would like to thank the following individuals for helping me through what at times seemed like an im- possible task: - my supervisor John Deathridge, who, after kicking the stupidest ideas out of me, adopted a hands-off approach that allowed me to find my own path through the rocky terrain of German modernism; - my co-supervisor Roger Parker, whose detailed criticis has improved the quality and readability of my academic prose no end; - my associate supervisor Michael Fend, who, in his characteristically diplomatic way, helped me to bet- ter understand how to get where I was trying to go; - the two examiners, Mark Berry and Nicolas Till; the discussion I had with them about the overall framework and the ways in which the various themes related to one another was stimulating and pro- vocative, and their final report responsible for a large improvement in the finished product; - my colleagues at King’s College, who created an atmosphere conducive to the production of good work; I’ll mention George Benjamin (especially his composer-seminars on Wozzeck, from which I pinched a good few ideas), Amy Bliers-Caruthers, Delia Casadei, Carlo Cencerelli, Thomas Fogg, Kathy Fry, Jennifer Gowman, Stephen Graham, Stephen Groves, Huw Hallam, Matthew Head, Wilhelm Kvist, Dominic McHugh, Lloyd Moore, Steve Potter, Miriam Quick, Elina Salmi, Hugo Shirley, Edward Top, but there were fruitful discussions and arguments with many others; - the office staff at King’s, particularly Rob Witts, who had to put up with a string of silly inquiries from me; - my parents, especially my mother who heroically allowed me to boomerang back to her house for my writing up year, and hardly complained at all; - and finally, my own Viennese Arabella, Arabella Cizmas, who saw me through the final nail-biting sev- en-month wait to see if my revisions would be deemed acceptable. (And yes, that does mean I met a girl called Arabella straight after doing a PhD about Arabella!) MB 13 November 2013 7 8 ABSTRACT Some varieties of modernism are thought of as an attempt to re-enchant a technologized world that has lost touch with spiritual modes of being. Instead here I start from the assumption that the various reli- gious categories never went away, but just reappeared in different guises. In Wozzeck and Arabella, their authors succeeded not in re-enchantment, but in creating innovative aesthetic structures to house the new distributions of the sacred occasioned by science. The connection of Berg’s music with science has been approached via his interest mysticism and pseudo-science. However, it is now thought that occultism was one way in which artists could absorb difficult ideas from mathematics and science. The aim here is consider Wozzeck in terms of these source ideas, rather than the second-hand version in which they were imbibed. Strauss has always been criticised for the superficiality or kitschiness of his music; recently this assessment has been up- graded to one of ‘postmodern irony’. Neither of these is satisfactory in the case of Arabella, and here I explain why. The main theoretical concerns are: (1) to escape from the relativism and constructivism of the linguistic turn, by finding ways of incorporating ‘truth’ into critical methodology; (2) to treat art not just as a semiotic system that can be interpreted, but also as an intricate bundle of affects and percepts that offers an aesthetic experience. The thesis comprises two stand-alone, although related, parts. Part I. The first two chapters show how Büchner’s ambivalent attitude to Enlightenment rationality in the 1830s made a new kind of sense to German audiences in the 1910s, which is why Berg was moved to set the piece, and why his interpretation departs more from the Büchner original vision than is usually acknowledged. Chapter 3 uses Heidegger’s notion of ‘the mathematical’ to demonstrate how the opera defamiliarizes the scientific mode of perception that characterizes the modern mind. Chapter 4 reassesses the treatment of individual and supra-individual subjectivity in Wozzeck, showing that at moments Wozzeck is as free as contemporary science allows him to be. Part II. The fifth and sixth chapters contend that, despite Hofmannsthal and Strauss’s well-documented differences on artistic and religious matters, their approach to metaphysics in art was surprisingly com- patible. Chapter 7 considers the operatic precedents that Strauss drew on in Arabella, particularly Tannhäuser and Parsifal, to argue that his supposedly non-metaphysical music still sets up a division between sacred and profane. Chapter 8 shows that, although Arabella looks like 1920s rom-com, it actually modelled a symbolic, mythical and ritual practice that allowed its audience to transcend the commercial representation of romance. 9 10 Introduction A Sort of Introduction This thesis is motivated by the belief that the human being is both a religious and a scien- tific/technological animal, and the conviction that social organization is most successful when it recog- nizes both and strikes a balance between them. In the turbulent period of history under consideration, Germany and Austria from the 1910s to the 1930s, the question of the relationship between rationality and irrationality was addressed in some way by most public intellectuals. It was certainly important, if not central, for each of the four artists focused on here and, although the collaborative, or synthetic na- ture of each opera means no unified intention could be said to exist for either, it is still possible to read each as a coherent intervention in this debate. The primary purpose of this investigation, then, is to patch together the often contradictory bundle of ideas about the relationship between science and reli- gion in the content of each opera, in order to render the perceptual and affective experience of the work into a legible philosophical position that would have been understood by contemporary thinkers.
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