Expressionist music

The musical Expressionism was built around 1906. Unlike the musical impressionism, which reflects the perception of external appearances of things, formulate the Expressionist art movements stirrings of the soul of man.

5.1 preforms / early expressionism
5.2 High Expressionism
5.3 Late Expressionism

Characterization

Theodor W. Adorno characterizes: " The expressionistic ideal is overall one of the immediacy of expression. This means a double. Once the expressionist musical examines all elements of the convention to eliminate traditional, all formulaic Solidified, yes all the unique case and his way across universality of musical language - analogous to the poetic ideal of, cry '. Second, the expressionistic turn affects the content of the music. As this the translucent loose, uncluttered, non- enlightened truth of subjective emotion is sought. The expressionist musical wants to give for a happy expression by Alfred Einstein psychograms, of protocol, unstilisierte records from the soul. It is revealed by close of psychoanalysis. "

Stylistically, the altered function of dissonance is particularly striking that equally occur in addition consonances and no longer be resolved - which was therefore called " emancipation of dissonance ". The tonal system was dismantled as far as possible and extended to atonality. Among the musical characteristics include: extreme pitches, extreme volume differences (dynamic contrasts ), jagged melodic lines with wide leaps; metric unbound, free rhythm and novel instrumentation.

Phases of Expressionism

Expressionism is divided into three phases:

As the whole of musical expressionism expressionism has developed primarily in German-speaking countries. While many composers of the early expressionism expressionist style later the left, Schoenberg and his students this way of composing remained faithful. The group of Schoenberg is called Viennese School: She realized most radical emancipation of dissonance, which became the most important means of expression of Expressionism.

Reception

Between the intense work of the artists and composers with each other and the perception of the public lay a gulf, as Rudolf Stephan wrote: " The term Expressionism was when he ( the discomfort of Schoenberg and Ferruccio Busoni ) in music literature emerged (since 1919), long since become a popular, much abused buzzword that played a certain role in the now concerned the music arts martial. This completed after the end of the war, brochures, Music newspapers, especially Melos (edited by Hermann Scherchen ) and the ( new, mostly short-lived ) art and culture magazines, while announced in the fields of literature and the visual arts already, according to the end of Expressionism been. So the discussion was suffering from the beginning of their delay and above all from the fact that in 1920 only a few relevant musical works existed in print and barely adequate performances took place, so the works were virtually unknown. "

Stylistic containment

The musical style determination has the task of representing the principal moments of expressionistic style. The following principal moments ( style criteria) can be detected:

Irritation ( excitation):

Irritation means the rapid change of melodic direction, the juxtaposition of dissonant harmonies, restlessness of the motives, variety of homophony and linear parts ( polyphony ), preference for sharp intervals, large range ( ambitus ), liberation of rhythm ( polyrhythms ) and resolution of meter (Music) ( polymetric ).

Expression:

Expression means the fanning of the tonal space by extending the chord formation ( expansion of the tonal space ). Every voice is equal, different musical material is developed simultaneously and superimposed. By equality of votes the overall sound compared to the linearity is focused.

Reduction:

Means the reduction to the essentials. Each tone is important, thereby an effective density achieved in music. A common means of reducing the compression of the orchestral apparatus. New orchestral colors and instrumentation are sought. If the maximum reduction (density) is reached, a splitting of the sound, the alternate instruments comes through polyrhythms and distribution of a motif on multiple -expression.

Abstraction:

The abstraction represents a rationalization of harmonious development, which can be represented as follows: 1 The music has no relation to the tonic, that is, the piece is not subject to more key ( Impressionism and Expressionism earlier ) 2 The chords have no ( thinly veiled ) function harmonious relationship 3 The chord progressions are resolved by alteration ( late Romanticism: Tristan chord ) 4 The leading notes are no longer resolved in the atonal music, they solidify 5 With the twelve-tone technique, a new law is created that becomes the basis of atonal composition manner

Traditional forms of musical expressionism

Due to the atonality of the harmonic context of the compositions is lost, so try the expressionist composers to give their compositions on a formal level balance. For this reason, the Expressionists use traditional forms, such as: canon, Invention, Fugue, Suite, Minuet, Marsh, Serenade, waltzes, classical sonata and especially also the basis of song form. Due to the traditional forms they bridge the gap between the rational and the emotional.

Anton Webern expressed in 1933 in his " lectures " in relation to the situation in 1910: "All the works that have been created since the disappearance of tonality and the preparation of the new Zwölftongesetzes were, in short, remarkably short. - What was then written Prolonged depends to a supporting text together [ ... ] - With the task of tonality the most important means was lost to build long pieces gone. Because to bring about formal unity, the tonality was most important. As if the light had gone out! - Or so it seemed. "

Major works

Chronologically - It should be remembered that many of the works were only long lists or printed according to the composition.

Preforms / early expressionism

- Preforms expressionistic music: violent contrast, reveling in dissonance works

Max Reger: Symphonic Fantasy and Fugue, Op 57 for Organ ( 1901)
Reger: Piano Quintet in C minor, Op 64 (1902 )
Schoenberg: Pelleas and Melisande, Op 5 (1902-1903)
Scriabin: Piano Sonata No. 4 in F sharp major, Op 30 (1903 )
Gustav Mahler: Symphony No. 6 ( 1903-1904 )
Charles Ives: The Unanswered Question for Trumpet, 4 Flutes and Strings (1906 )
Ives: Central Park in the Dark for orchestra (1906, rev 1936. )

High Expressionism

Scriabin: Le Poème de l' Extase, Op 54 for orchestra ( 1905-1908 )
Scriabin: Piano Sonata No. 5 in F sharp major, Op 53 (1907 )
Schoenberg: Second String Quartet Quartet Op 10 ( F sharp minor ) with soprano ( 1907-1908 )
Schönberg: The Book of the Hanging Gardens, Op 15 by Stefan George for voice and piano ( 1908-1909 )
Webern: Five Movements for String Quartet, Op 5 (1909 )
Webern: Six Pieces for Large Orchestra, Op 6 (1909 )
Schoenberg: Three Piano Pieces, Op 11 (1909 )
Schoenberg: Five Pieces for Orchestra, Op 16 (1909, revised 1922)
Schoenberg: Expectation op 17, monodrama (1909, listed in 1924 )
Webern: Four Pieces for Violin and Piano, Op 7 (1910 )
Schoenberg: The Happy Hand, Op 18 (1910-1913, only in 1924 listed )
Schoenberg: Six Little Piano Pieces, Op 19 (1911 )
Schoenberg: Herzgewächse op.20 for high soprano, celesta, harmonium and harp (1911, listed only in 1928 )
Webern: Five Pieces for Orchestra, Op 10 (1911 )
Schoenberg: Pierrot Lunaire, Op 21 for a speaking voice and ensemble ( 1912)
Berg: Five Orchestral Songs on Poems by Peter Altenberg, Op 4 (1912 )
Berg: Four Pieces for Clarinet and Piano, Op 5 (1913 )
Schoenberg: Four Songs, Op 22 for voice and orchestra ( 1913-1916, until 1932 listed )
Berg: Three Pieces for Orchestra, Op 6 (1914 )
Schoenberg: The Jacob's Ladder, oratorio fragment ( 1917)
Webern: Songs for Voice and Ensemble opp. 14-18 (1917-1925)
Berg: Wozzeck, Op 7, Opera ( 1917-1922, first performance 1925)

Late Expressionism

Scriabin: Piano Sonata No. 10, Op 70 ( 1912-1913 )
Scriabin: Vers la flamme, poème op 72 for piano (1914 )
Scriabin: Deux Danses op.73 for piano (1914 )
Bartók: The Miraculous Mandarin for orchestra (1918-1923, rev 1924 and 1926-31. )
Schoenberg: Five Pieces for Piano, Op 23 (1920-1923)

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