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Adorno's "Schubert": From the Critique of the Garden Gnome to the Defense of Atonalism

Adorno's "Schubert": From the Critique of the Garden Gnome to the Defense of Atonalism This article situates Adorno's "Schubert" in the context of the 1928 centennial, showing the originality of his position on the issue of Schubertian kitsch (as represented by Heinrich Bert�'s operetta Das Dreimaderlhaus ). This is related to Adorno's attitude toward organicism, characterized by a critique that was relevant on both the political and the theoretical level. His antiorganicist vision of Schubert's music is compared to the nationalist stance of a Richard Benz, typical of right-wing readings of German cultural greatness, and also to the analytical a prioris of two pupils of Schenker, Felix Salzer and Otto Vrieslander (as shown in their perception of the exposition of the Bb-Major Sonata). Finally, Adorno's attitude toward Schubert is related to his commitment on behalf of a "Schoenbergian politics," which led him to view both Schoenberg's and Schubert's music as an alternative to a musical canon shaped by a shared belief in organicism. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Adorno's "Schubert": From the Critique of the Garden Gnome to the Defense of Atonalism

19th-Century Music , Volume 29 (1) – Jul 1, 2005

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Publisher
University of California Press
Copyright
Copyright © by the University of California Press
ISSN
0148-2076
eISSN
1533-8606
DOI
10.1525/ncm.2005.29.1.25
Publisher site
See Article on Publisher Site

Abstract

This article situates Adorno's "Schubert" in the context of the 1928 centennial, showing the originality of his position on the issue of Schubertian kitsch (as represented by Heinrich Bert�'s operetta Das Dreimaderlhaus ). This is related to Adorno's attitude toward organicism, characterized by a critique that was relevant on both the political and the theoretical level. His antiorganicist vision of Schubert's music is compared to the nationalist stance of a Richard Benz, typical of right-wing readings of German cultural greatness, and also to the analytical a prioris of two pupils of Schenker, Felix Salzer and Otto Vrieslander (as shown in their perception of the exposition of the Bb-Major Sonata). Finally, Adorno's attitude toward Schubert is related to his commitment on behalf of a "Schoenbergian politics," which led him to view both Schoenberg's and Schubert's music as an alternative to a musical canon shaped by a shared belief in organicism.

Journal

19th-Century MusicUniversity of California Press

Published: Jul 1, 2005

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