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Opera, Narrative, and the Modernist Crisis of Historical Subjectivity

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Opera, Narrative, and the Modernist Crisis of Historical Subjectivity Opera, Narrative, and the Modernist Crisis of Historical Subjectivity by Sherry Denise Lee BMus, The University of Western Ontario MA, The University of Western Ontario A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Faculty of Graduate Studies (School of Music) We accept this thesis aj> donforming to the required standard The University of British Columbia September 2003 © Sherry Denise Lee, 2003 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. lent of ^haM n(- rlu*ty The University of British Columbia Vancouver, Canada Date DE-6 (2/88) Abstract The concept of a crisis of subjective identity and its expression in modernist artworks of the fin-de-siecle and early twentieth century is central to this study of narrative in operas by Franz Schreker (1878-1934) and Alexander Zemlinsky (1871-1942). Focused on modernist operatic expressions of subjectivity in crisis, this project explores and expands ideas of Theodor W. Adorno (19 03-19 6 9), starting from his assertion that modern works of art should be dialectical expressions of the crisis of the individual subject alienated within the instrumental mechanisms of modern society. This study examines individual narrative and musical expressions of marginal subjectivity from several perspectives, including Adorno's musical aesthetics, Freudian and post-Freudian psychoanalytical concepts, and literary and gender-based theories. The study begins by mapping out a constellation of concepts that figure in the discussion to follow: Adorno's critical theory of authentic expression in modern music; philosophical and psychoanalytical concepts of subjectivity; and the narrative thread running through historical, theoretical, and literary concerns of this project. In the main portion of the dissertation, Adorno's 1959 essays on Schreker and Zemlinsky serve as points of departure for discussions of four operas: Schreker's Der feme Klang (1912) and Die Gezeichneten (1918), with libretti by the composer, and Zemlinsky's Eine florentinische Tragodie (1917) and DerZwerg (1921), both based on texts by Oscar Wilde. Adorno criticized Schreker for composing sensually alluring yet technically deficient works that sought to escape rather than authentically express the modernist human condition. This project examines and elucidates Adorno's case against Schreker, focusing on his criticism of Schreker's central idea of sound, and defends the critical quality of Schreker's artistic conception, reinterpreting the Schrekerian sound through close readings of the operatic narratives. Adorno praised Zemlinsky's eclectic compositional style for its expressivity and socio-historical authenticity; yet he dismissed both Wildean operas, considering their libretti dramatically flawed. However, the present reading finds the subtle psychosexual implications of Wilde's texts suggestive for re-hearing the musical relationships in both operas, in terms of the issues of subjective crisis they explore. The dissertation concludes by addressing questions of historicity raised by Adorno's discussion of the historical fate of both composers. ii Table of Contents Abstract ii Table of Contents iii List of Figures iv Acknowledgements v Chapter One Introduction i Modernist Fragments 4 Phantom Subjects n Forgotten Narratives 17 Chapter Two Sound that Comes from Nowhere: Adorno and the Case of Schreker 26 Chapter Three Zemlinsky: Composing the Self 82 A Florentine Tragedy, or Woman as Mirror 97 Chapter Four The Spectre in the Mirror, or Confronting the Self 133 Chapter Five Gezeichneten: Portraits of the Artist as a Marked Man 168 Questions of Historicity 201 Selected Bibliography 210 iii List of Figures Figure 3.1 "Triangular Relationships in A Florentine Tragedy" 119 Figure 5.1 "Recurring Thematic Materials in Die Gezeichneten, Act II, scene 2" 188 iv Acknowledgements My sincere thanks are due first to the members of my dissertation committee: Vera Micznik, David Metzer, Richard Kurth, and William Benjamin. They have been attentive, inspiring, critical, practical, and consistently encouraging, not to mention patient. It has been my pleasure and privilege to work with them, and I have learned a great deal more from each of them than I can say. They have devoted innumerable hours to discussing my ideas with me and carefully reading and correcting drafts of my work; any remaining errors in this document are mine. I am grateful to several others who have assisted and supported me at various stages of this project. Stephen McClatchie and Morten Solvik willingly read and commented on portions of my work. Adelia Harrison and Jill T. Brasky seem always ready to deliberate issues musicological, philosophical, literary, or sartorial; I am most fortunate to have such clever, generous, and sympathetic friends. Many thanks are due also to Jocelyn Morlock, who quickly and accurately copied most of the musical examples appearing in the text. I am extremely thankful for my parents, Peter and Marlene Lee, and my sister, Shark Thompson, who are all apparently inexhaustible sources of loving encouragement. My partner, Greg Newsome, has done a bit of everything to help me through this project: discussed with me aesthetic and compositional issues, provided analytical insights, proofread copies and drafts, copied and digitized several musical examples and diagrams, and provided material, technical, and most of all, unstinting personal support. It never occurred to him to doubt that I would complete this project, though he may not have realized how much its completion has depended on him. I sincerely appreciate the generous material support I received during work on this study through the Social Sciences and Humanities Research Council of Canada, the Killam Trust, and the Alvin H. Johnson AMS 50 dissertation fellowship from the American Musicological Society. Universal Edition of Vienna generously granted permission for the reproduction of musical examples from the following scores: Franz Schreker: Derfeme Klang, © 1911 by Universal Edition A.G., Wien/UE 3096; Die Gezeichneten, © 1916 by Universal Edition A.G., Wien/UE 5690 Alexander Zemlinsky: Eineflorentinische Tragodie, © 1916 by Universal Edition A.G., Wien/UE 5662; DerZwerg, © 1921 by Universal Edition A.G., Wien/UE 6630 Alban Berg: Wozzeck, © 1926 by Universal Edition A.G., Wien/UE 7379/UE 12100 Thanks to Mr. Aygun Lausch at Universal Edition for promptly arranging for this permission. Introduction In the words of Jacques Le Rider, "the 'identity crisis' really does seem to be the distinguishing mark of Viennese modernity." Le Rider's book Modernity and Crises of Identity explores literary and cultural tropes characteristic of Vienna at the beginning of the twentieth century as "attempts to rebuild identity on the ruins of the subject."1 The concept of a crisis of subjective identity and its artistic expression in Viennese modernist works is at the centre of the present study of opera and narrative. This discussion of modernist operatic expressions of subjectivity in crisis sets out from Theodor W. Adorno's conviction that modern works of art must express the crisis of the individual subject who is alienated within the rationalized objectivity of modern industrialized, administered society. Individual narrative and musical expressions of modernist subjectivity will be interrogated from various perspectives, including Adorno's complex theories of expression in modern music, as well as literary, psychoanalytical, and gender-based theories. The collection of Adorno's essays entitled Quasi una Fantasia: Musikalische Schriften II was first published in 1963. Among several substantial essays on major composers who loomed large in Adorno's aesthetic-critical enterprise - Mahler, Stravinsky, and Schoenberg - are two relatively short pieces on lesser-known composers: Franz Schreker (1878-1934) and Alexander Zemlinsky (1871-1942). Both essays originated as radio talks that Adorno delivered in 1959.2 Contemporaries with Schoenberg, these two composers - particularly Schreker - were well known in their own time, but both had faded into almost complete oblivion before the end of the Second "World War. Condemned by the Nazi regime for 'Jacques Le Rider, Modernity and Crises of Identity: Culture and Society in Fin-de-Siecle Vienna, trans. Rosemary Morris (Cambridge, UK: Polity Press, 1993), 41, 45. 2 Stephen Hinton has recently noted that the published versions of Adorno's radio talks often differ - sometimes considerably - from the version he read for broadcast. Hinton makes this observation in connection with several broadcast recordings made by the Hessischer Rundfunk, which have recently been re-released on a CD collection [Aufarbeitung der Vergangenheit: Reden und Gesprache, selection and commentary by Rolf Tiedemann (Munich: Hor-Verlag, 1999), 5 CDs]. The radio talk on Schreker was given for the Hessischer Rundfunk, but is not included in this collection; the Zemlinsky talk was delivered for the NDR. See Hinton's review article in the Journal of the American Musicological Society 56/1 (Spring
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