Anton Webern's Lied Settings of Poems by Karl Kraus
Anton Webern's diaries, letters, and personal library catalogs reveal that by 1905 he had become an avid reader of Karl Kraus's works, especially the popular and controversial journal Die Fackel, and that he continued to collect the satirist's works for over thirty years. Like other V...
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ndltd-fsu.edu-oai-fsu.digital.flvc.org-fsu_1826332020-06-13T03:08:19Z Anton Webern's Lied Settings of Poems by Karl Kraus Cain, Jerry M. (authoraut) Seaton, Douglass (professor directing dissertation) Clendinning, Jane Piper (outside committee member) Brewer, Charles E. (committee member) Kite-Powell, Jeffery T. (committee member) College of Music (degree granting department) Florida State University (degree granting institution) Text text Florida State University Florida State University English eng 1 online resource computer application/pdf Anton Webern's diaries, letters, and personal library catalogs reveal that by 1905 he had become an avid reader of Karl Kraus's works, especially the popular and controversial journal Die Fackel, and that he continued to collect the satirist's works for over thirty years. Like other Viennese residents, Webern often disagreed with Kraus's sardonic cultural commentaries, yet he revered the satirist as an eminent Viennese intellectual. In the 1930s Webern's frequent citations of Kraus during the composer's Path to the New Music lecture series reveal that it was Kraus's theories on language and ethics that the composer assimilated into his own mature world view. Webern also admired Kraus's poetry. In addition to a complete series of compositional materials for "Wiese im Park," op. 13 no. 1, Webern's Nachlaß also contains manuscripts documenting his attempts to set five other Kraus poems between 1916 and 1924. Although these unpublished Kraus songs were left incomplete, the settings of "Vallorbe," M. 232, and "Vision des Erblindeten," M. 236, exist in fairly detailed continuity drafts, and the settings of "In tiefster Schuld," M. 210, "Flieder," M. 246, and "Mutig trägst du die Last," M. 211, exist in multiple, musically distinct sketch fragments. A detailed archival description of Webern's Kraus manuscripts highlights some of the multitudinous compositional strategies through which the composer sought to create coherent small- and large-scale formal musical structures within the free atonal idiom. Foremost among these strategies is the use of aggregates to delineate musical subsections, a technique referred to in this study as "aggregate phrasing." Analysis also reveals that the composer occasionally sought to internally organize these aggregate phrases through complement relations and the manipulation of unordered, fixed-pitch sets, some of which possess combinatorial properties. Although the octatonic collections play no significant role in most of these sketches, a few contain interesting octatonic sonorities, and one fragmentary setting of "Flieder" definitively demonstrates that the composer worked with octatonic scales in 1920. The study of these manuscripts, both complete and fragmentary, provides insights into the raw musical materials and various compositional strategies explored by Webern during an experimental period of the composer's development. A Dissertation submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Summer Semester, 2003. April 14, 2003. Karl Kraus's Works Influences Anton Webern Includes bibliographical references. Douglass Seaton, Professor Directing Dissertation; Jane Piper Clendinning, Outside Committee Member; Charles E. Brewer, Committee Member; Jeffery T. Kite-Powell, Committee Member. Music FSU_migr_etd-4521 http://purl.flvc.org/fsu/fd/FSU_migr_etd-4521 This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). The copyright in theses and dissertations completed at Florida State University is held by the students who author them. http://diginole.lib.fsu.edu/islandora/object/fsu%3A182633/datastream/TN/view/Anton%20Webern%27s%20Lied%20Settings%20of%20Poems%20by%20Karl%20Kraus.jpg |
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Anton Webern's diaries, letters, and personal library catalogs reveal that by 1905 he had become an avid reader of Karl Kraus's works, especially the popular and controversial journal Die Fackel, and that he continued to collect the satirist's works for over thirty years. Like other Viennese residents, Webern often disagreed with Kraus's sardonic cultural commentaries, yet he revered the satirist as an eminent Viennese intellectual. In the 1930s Webern's frequent citations of Kraus during the composer's Path to the New Music lecture series reveal that it was Kraus's theories on language and ethics that the composer assimilated into his own mature world view. Webern also admired Kraus's poetry. In addition to a complete series of compositional materials for "Wiese im Park," op. 13 no. 1, Webern's Nachlaß also contains manuscripts documenting his attempts to set five other Kraus poems between 1916 and 1924. Although these unpublished Kraus songs were left incomplete, the settings of "Vallorbe," M. 232, and "Vision des Erblindeten," M. 236, exist in fairly detailed continuity drafts, and the settings of "In tiefster Schuld," M. 210, "Flieder," M. 246, and "Mutig trägst du die Last," M. 211, exist in multiple, musically distinct sketch fragments. A detailed archival description of Webern's Kraus manuscripts highlights some of the multitudinous compositional strategies through which the composer sought to create coherent small- and large-scale formal musical structures within the free atonal idiom. Foremost among these strategies is the use of aggregates to delineate musical subsections, a technique referred to in this study as "aggregate phrasing." Analysis also reveals that the composer occasionally sought to internally organize these aggregate phrases through complement relations and the manipulation of unordered, fixed-pitch sets, some of which possess combinatorial properties. Although the octatonic collections play no significant role in most of these sketches, a few contain interesting octatonic sonorities, and one fragmentary setting of "Flieder" definitively demonstrates that the composer worked with octatonic scales in 1920. The study of these manuscripts, both complete and fragmentary, provides insights into the raw musical materials and various compositional strategies explored by Webern during an experimental period of the composer's development. === A Dissertation submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. === Summer Semester, 2003. === April 14, 2003. === Karl Kraus's Works Influences Anton Webern === Includes bibliographical references. === Douglass Seaton, Professor Directing Dissertation; Jane Piper Clendinning, Outside Committee Member; Charles E. Brewer, Committee Member; Jeffery T. Kite-Powell, Committee Member. |
author2 |
Cain, Jerry M. (authoraut) |
author_facet |
Cain, Jerry M. (authoraut) |
title |
Anton Webern's Lied Settings of Poems by Karl Kraus |
title_short |
Anton Webern's Lied Settings of Poems by Karl Kraus |
title_full |
Anton Webern's Lied Settings of Poems by Karl Kraus |
title_fullStr |
Anton Webern's Lied Settings of Poems by Karl Kraus |
title_full_unstemmed |
Anton Webern's Lied Settings of Poems by Karl Kraus |
title_sort |
anton webern's lied settings of poems by karl kraus |
publisher |
Florida State University |
url |
http://purl.flvc.org/fsu/fd/FSU_migr_etd-4521 |
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1719319392012992512 |