Page 85 - Weiss, Jernej, ur./ed. 2024. Glasbena kritika – nekoč in danes ▪︎ Music Criticism – Yesterday and Today. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 7
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music of progress and the future. on the roots of a fierce press feud ...
decomposition and purification through this struggle, but also art. Im-
mediately after Beethoven - and he himself gave the impetus for this -
the split began among musicians between the enthusiastic supporters of
the storming and pushing Romanticism and the representatives of an
ossified Classicality.48
If absolute music came to dominate in German music literature in the
20th century, this was part of the “relative dechristianisation of our world”
(Nipperdey). If church music has been marginalised, if not excluded, in
German music historiography as a whole since 1800, this follows the max-
ims of modernity. At the same time, other branches rose to religious vener-
ation: Technology, commerce and the arts, above all music, if it knew how
to exist on the concert podium as an ideal counter-world stripped of all so-
cial ties (serious music). In a society that believed in science, musicology
knew how to adapt skilfully and, as a kind of religious congregation of the
musical art religion of modernity, to secure for itself interpretive sovereign-
ty and thus a high social position, religious battles included. The scientif-
ic claim to strive for objectivity and at least objective neutrality fell by the
wayside.
Bibliography
Literature
Ambros, August Wilhelm. Culturhistorische Bilder aus dem Musikleben der
Gegenwart. Leipzig: Matthes, 1860; 2nd ed.: Leipzig, 1865.
Curtis, Robert Lee. Ludwig Bischoff. A mid-nineteenth-century music critic [Con-
tributions to Rhenish Music History, vol. 123]. Cologne: A. Volk, 1979.
Dahlhaus, Carl. Die Idee der absoluten Musik, 4th ed. Kassel: Bärenreiter, 2018.
Deaville, James. “Introduction.” In Die Neudeutsche Schule – Phänomen und
Geschichte. Quellen und Kommentare zu einer zentralen musikästhe-
tischen Kontroverse des 19. Jahrhunderts, edited by Dominik von Roth and
Ulrike Roesler, 1–7. Berlin, Kassel: Metzler, Bärenreiter, 2020. https://doi
.org/10.1007/978-3-476-04923-0.
Ehringhaus, Sibylle. Germanenmythos und deutsche Identität [Germanic Myth
and German Identity]. Die Frühmittelalter-Rezeption in Deutschland 1842–
1933. Weimar: Verlag und Datenbank für Geisteswiss, 1996.
48 Julius Schaeffer, “Über Richard Wagner’s Lohengrin, mit Bezug auf seine Schrift:
‘Oper und Drama’,” Neue Berliner Musikzeitung 6, no. 20 (12 May 1852): 153–5; no.
21 (19 May 1852): 161–3; no. 22 (26 May 1852): 169–71.
85
decomposition and purification through this struggle, but also art. Im-
mediately after Beethoven - and he himself gave the impetus for this -
the split began among musicians between the enthusiastic supporters of
the storming and pushing Romanticism and the representatives of an
ossified Classicality.48
If absolute music came to dominate in German music literature in the
20th century, this was part of the “relative dechristianisation of our world”
(Nipperdey). If church music has been marginalised, if not excluded, in
German music historiography as a whole since 1800, this follows the max-
ims of modernity. At the same time, other branches rose to religious vener-
ation: Technology, commerce and the arts, above all music, if it knew how
to exist on the concert podium as an ideal counter-world stripped of all so-
cial ties (serious music). In a society that believed in science, musicology
knew how to adapt skilfully and, as a kind of religious congregation of the
musical art religion of modernity, to secure for itself interpretive sovereign-
ty and thus a high social position, religious battles included. The scientif-
ic claim to strive for objectivity and at least objective neutrality fell by the
wayside.
Bibliography
Literature
Ambros, August Wilhelm. Culturhistorische Bilder aus dem Musikleben der
Gegenwart. Leipzig: Matthes, 1860; 2nd ed.: Leipzig, 1865.
Curtis, Robert Lee. Ludwig Bischoff. A mid-nineteenth-century music critic [Con-
tributions to Rhenish Music History, vol. 123]. Cologne: A. Volk, 1979.
Dahlhaus, Carl. Die Idee der absoluten Musik, 4th ed. Kassel: Bärenreiter, 2018.
Deaville, James. “Introduction.” In Die Neudeutsche Schule – Phänomen und
Geschichte. Quellen und Kommentare zu einer zentralen musikästhe-
tischen Kontroverse des 19. Jahrhunderts, edited by Dominik von Roth and
Ulrike Roesler, 1–7. Berlin, Kassel: Metzler, Bärenreiter, 2020. https://doi
.org/10.1007/978-3-476-04923-0.
Ehringhaus, Sibylle. Germanenmythos und deutsche Identität [Germanic Myth
and German Identity]. Die Frühmittelalter-Rezeption in Deutschland 1842–
1933. Weimar: Verlag und Datenbank für Geisteswiss, 1996.
48 Julius Schaeffer, “Über Richard Wagner’s Lohengrin, mit Bezug auf seine Schrift:
‘Oper und Drama’,” Neue Berliner Musikzeitung 6, no. 20 (12 May 1852): 153–5; no.
21 (19 May 1852): 161–3; no. 22 (26 May 1852): 169–71.
85
