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12
Chapter1
Example2.Methopesop.29,Kalipso
Theculturalandartisticlandscapeof1918post-WorldWarIwasclearly
shiftingtowardchange.Post-Romanticismwithitscomplex,highlychromatic,
andexpressionisticfeatureswasslowlybeingreplacedwithsimplicity,clarity,and
adoseofoptimism.ThesearchfortheKnew”andthetrendKagainsttheold”that
markedthepre-waryearswassubstitutedwithatendencytowardreconnecting
withtraditionandfamiliarity.Stravinsky,Schoenberg,andHindemith,among
others,wereatthecenterofcreatingthisstylisticre-orientation,rooteddeeply
intraditionwithrespecttovariouselementsofcomposition.
Thisresultedintheemergenceofseveraltrendsduringthe1920s,referred
totodayasdieNeueSachlichkeit,Neoclassicism,andSerialism.Althougheach
ofthesethreadsdisplaysdifferentmusicalaesthetics,theyshareacommon
feature:thesearchforarenewedorganizationdeeplyrootedintraditionthat
couldrebuildandKrediscover”puremusic.Thetendencywas,notaccidentally,
areactiontothecomplexandKtext-dependent”musicofthebeginningofthe
20thcentury.ThiswasespeciallytrueinthecaseofStravinsky,butevenmore
soinSchoenberg’s:opuses15-22areallstagedworkswiththeexceptionofFive
OrchestralPiecesandSixLittlePiecesop.19.TheturningpointforSchoenberg
cameafterherealizedthattherewasnorationalsystematworkinthecreation
ofErwartung;thereforehewasnotableeithertoexplainorrecapturetheprocess
inlaterworks.AsCharlesRosennotes,inErwartung
Schoenbergdidawaywithallthetraditionalmeansinwhichmusicwas
supposedtomakeitselfintelligible:repetitionofthemes,integrityand
discursivetransformationofclearlyrecognizablemotifs,harmonicstructure
basedonaframeworkoftonality.4
4
CharlesRosen,ArnoldSchoenberg,ed.FrankKermode(NewYork:TheVikingPress,
1975),39.
