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Kritikerdämmerung: Heinrich Schenker and Music Journalism

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Kritikerdämmerung: Heinrich Schenker and Music Journalism University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Modern Languages Kritikerdämmerung: Heinrich Schenker and Music Journalism by Georg Burgstaller Thesis for the degree of Doctor of Philosophy June 2015 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Modern Languages Thesis for the degree of Doctor of Philosophy KRITIKERDÄMMERUNG: HEINRICH SCHENKER AND MUSIC JOURNALISM Georg Burgstaller Despite the steady amount of research that has gone into the life and mind of Viennese music theorist Heinrich Schenker (1868-1935) in recent decades, certain facets of his thinking continue to puzzle scholars. These include the question of how a thinker nowadays highly regarded for his considerable powers of insight into the music of Bach, Mozart, and Beethoven came to hold views that were bigoted, odious, and militantly German-nationalist. This thesis confronts the issue by recapturing Schenker’s hitherto uncharted engagement with one of the phenomena of modern life that he vocally rejected: music journalism. Although a profession that is today considered as duly coexisting with the musical academy that Schenker’s analytical practice helped to shape, he was far less tolerant of what was written about music in the only mass medium of its day. This study offers a close reading of a variety of archival sources that include an unpublished essay on music criticism by the theorist as well as his diary and correspondence, most of which is newly accessible through Schenker Documents Online. In order to situate his thinking within the cultural hothouse of his day, my research also draws on an selection of newspaper articles, mostly on the subject of criticism, that Schenker deemed significant enough to file with his own papers. As a result of this procedure, this study establishes Schenker’s trepidations about music journalism and assesses their context. It reveals his critical view of journalism as a manifestation of individualism and democracy escalating alongside the rapid social and artistic transformations that he witnessed after the turn of the twentieth century. It also illustrates his increasingly agitated perception of music journalism as directly damaging his career. Finally, this thesis demonstrates how, in the course of the 1910s, Schenker came to conflate his antagonism towards one particular journalist, German critic Paul Bekker, with his embrace of German nationalism. By engaging not only with Schenker’s writings but also his reading materials, this study locates his thinking within that of his contemporaries and, as a result, helps us make sense of some of his often opaque assertions about art, society, and criticism. i TABLE OF CONTENTS Declaration of Authorship iii Acknowledgments iv List of Abbreviations v List of Illustrations vi A Note on Translations and Imports from SDO vii Introduction 1 Chapter 1. Context 9 Historical Context 9 Heinrich Schenker’s Life and Work 14 Sources 24 Literature Review 35 Chapter 2. Concepts and Approaches 57 German Aesthetics, the Public Sphere 57 Jewish Identity 63 Musical Participation 67 Music Criticism 71 Criticism, Discourse 77 Chapter 3. ‘Die Teilnehmenden’: Schenker on Musical Participation 83 The Volk 87 The Public Sphere 105 The Music Critics 115 Chapter 4. Responding to Criticism: ‘Kunst und Kritik’ and its Origins 127 The Critical Reception of Schenker’s Early Works 130 The Artist and the Critic 147 ii Chapter 5. Pale Fire: Schenker’s Polemics against Paul Bekker 163 The Erläuterungsausgabe 167 Paul Bekker 178 Bekkerei 182 ‘Musikkritik’ 190 Epilogue 203 Conclusions 211 Appendix. ‘Kunst und die Teilnehmenden’: Two Fragments by Heinrich Schenker 223 A Note on the Transcription 223 ‘Kunst und das Volk’ 224 ‘Kunst und Kritik’ 232 Supplement: ‘Brahms – Drei Streichquartette’ (1874) by Eduard Hanslick 259 Bibliography 263 Primary Sources 263 Secondary Literature 265 iii DECLARATION OF AUTHORSHIP I, Georg Burgstaller, declare that this thesis and the work presented in it are my own and has been generated by me as the result of my own original research. Title of thesis: ‘Kritikerdämmerung: Heinrich Schenker and Music Journalism’ I confirm that: 1. This work was done wholly or mainly while in candidature for a research degree at this University; 2. Where any part of this thesis has previously been submitted for a degree or any other qualification at this University or any other institution, this has been clearly stated; 3. Where I have consulted the published work of others, this is always clearly attributed; 4. Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work; 5. I have acknowledged all main sources of help; 6. Where the thesis is based on work done by myself jointly with others, I have made clear exactly what was done by others and what I have contributed myself; 7. Either none of this work has been published before submission, or parts of this work have been published as: n/a Signed: Date: 13 September 2014 iv ACKNOWLEDGEMENTS I would like to thank my supervisor Dr. Andrea Reiter for her generous encouragement, support, and discernment, as well as my advisor Prof. William Drabkin for his guidance and advice on translating my primary sources into English. I would also like to acknowledge the input of the other members of the Schenker Documents Online research team, Prof. Ian Bent, Dr. David Bretherton, and Kirstie Hewlett, as well as the help of Bob Kosovsky at the New York Public Library for the Performing Arts, Music Division, and Sara Allison at University of California at Riverside Special Collections & Archives. I am grateful to Prof. Nicholas Cook and Prof. Neil Gregor for their advice and would like to thank Michael Wynne for reading the final draft. Attached to the Schenker Documents Online research project, this study has been funded by the Arts and Humanities Research Council. v LIST OF ABBREVIATIONS ANNO Austrian Newspapers Online, Österreichische Nationalbibliothek (ANNO). Referenced by ANNO, author, title, publication, and date. DLA Cotta-Archiv, Schiller Nationalmuseum/Deutsches Literaturarchiv, Marbach. Referenced by DLA item number. OC The Oster Collection, Music Division, The New York Public Library for the Performing Arts. Referenced by OC file/item number. OJ Oswald Jonas Memorial Collection, Special Collections, University of California, Riverside Libraries. Referenced by OJ box/item number. SDO Schenker Documents Online. Referenced by SDO, source, document identifier, date, transcriber, and translator. WSLB Wiener Stadt- und Landesbibliothek, Vienna. Referenced by WSLB item number. vi LIST OF ILLUSTRATIONS Figure 1. Portrait photograph of Heinrich Schenker, circa 1919; OJ 72/14, no. 6. Figure 2. Portrait photograph of Jeanette Schenker, 1925; OJ 72/16, no. 2. Figure 3. ‘Kunst und Kritik’, OC C/377-412; photograph by the author. Figure 4. Some of the items in the ‘criticism folder’, OC C/368-463; photograph by the author. Figure 5. A note in Heinrich Schenker’s handwriting, OC B/406; reproduced from microfilm. Figure 6. Diagram, Snarrenberg 1997, p. 142. Figure 7. Diagram, amended. Figure 8. Ein Volkskonzert vor dem Wiener Rathause (detail), engraving of an original drawing by Theodor Breidwieser, 1892. Photograph by the author. Figure 9. Jubiläumsfeier der Wiener Philharmoniker im Großen Saal des Wiener Musikvereins; engraving based on a painting by August Mandlick, 1910; this image is taken from <http://austria-forum.org/af/Heimatlexikon/Wiener_Musikverein> (11 December 2013). Figrure 10. Photograph of the interior of a Viennese coffee shop, around 1910; Korngold 1991, p. 65. Figure 11. Schenker’s scrapbook, OC 2; photograph by the author. Figure 12. Cover page of Erläuterungsausgabe op. 110 (1914); photograph by the author. Figure 13. Full-length portrait photograph of Paul Bekker, 1917; Eichhorn 2002, p. 783. vii A NOTE ON TRANSLATIONS AND IMPORTS FROM SDO Where possible I have sought out published English translations of the German literature quoted. Most of the primary sources presented in this thesis have not previously been translated into English, and the renderings of it are my own. In these instances the original German text is included in the footnote, with the exception of those sources for which I provide a side-by-side transcription and translation in the Appendix. In the latter case, I give reference to the page number of the Appendix on which the German text can be found. Unless otherwise indicated, all translations are my own. Schenker Documents Online is a critical edition that seeks to present documents as faithfully as is possible within a digital environment: the German text is presented as close
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