![]() To improve future debates, Brendel made several suggestions in particular, that in future, use of the term Zukunftsmusik (En: Music of the Future) should be avoided. See also Music of the Future for additional background. Introduction of the term 'New German School' In contrast to this, the Symphonies of Schubert, Mendelssohn and Schumann, however magnificent and beautiful they were, could only be regarded as the works of epigones. They were what had to come if progress was to be gained. Liszt's symphonische Dichtungen of 1858, it was his conviction that Liszt's Symphonic Poems were the most perfect ideal of instrumental music of that time. While Brendel did not explicitly cite their names, from the context it is clear that Berlioz and Liszt were intended. Brendel mentioned by name only Wagner, who had wonderfully realized the ideal of the pure German opera, but he also mentioned two others. Masters of recent years had proved to Brendel by their achievements that he had not been in error. As consequence, there had been conflict with other parties, rising to a pitch reminiscent of religious fanaticism of former times. The Neue Zeitschrift für Musik had become the voice for progressive attitudes in contemporary musical life. He had evolved distinct musical principles and kept to them. In many cases Schumann's view had been dependent on transient emotions evoked by music. While Schumann had taken an artist's view, his writings had been purely subjective. It was published as printed version in the Neue Zeitschrift für Musik of 10 June 1859.īrendel recalled Robert Schumann, who had founded the Neue Zeitschrift für Musik to open the way for a new kind of art, derived from Beethoven's works. Brendel's speech is the origin of the term "New German School". The third day of the Tonkünstler-Versammlung, 3 June, was opened by Brendel with a speech "Zur Anbahnung einer Verständigung" (En: "To open the way to an agreement"). It is no cause for surprise that Liszt himself was the most frequently performed contemporary composer at the event, and that members of his circle at Weimar were well represented. It was also Liszt who had made suggestions for the musical performances at the congress. The necessary funding came from a stipend of 1,000 thaler from Friedrich Wilhelm Konstantin, Prince of Hohenzollern-Hechingen, which Liszt had negotiated. In 1858 Franz Liszt and Franz Brendel projected a Musician's Congress (Ge: Tonkünstler-Versammlung). ![]() Representatives of the New German School conflicted with more conservative musicians in the so-called War of the Romantics. The present article sets out the main elements associated with this term. There is also a consensus that Johannes Brahms did not take part. It is generally agreed that Franz Liszt and Richard Wagner were among the most prominent representatives of the "New German School". It has been used by different persons at different times with different meanings. In addition, those held to be representatives of the "New German School" are not all practising musicians. ![]() Although the term has frequently been used in essays and books about music history of the 19th and early 20th centuries, a clear definition is complex. The New German School (German: Neudeutsche Schule, pronounced ) is a term introduced in 1859 by Franz Brendel, editor of the Neue Zeitschrift für Musik, to describe certain trends in German music. For the distinction between, / / and ⟨ ⟩, see IPA § Brackets and transcription delimiters. For an introductory guide on IPA symbols, see Help:IPA. ![]() This article contains phonetic transcriptions in the International Phonetic Alphabet (IPA). ![]()
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