New German School
The New German School was a flow in the musical development away from the conservative understanding of music as absolutely blown on the program of the music.
To Franz Liszt, a group of musicians and musicologists had formed in the second half of the 19th century, coined the word from the " music of the future ". The term neo-German school comes from Franz Brendel, editor of the Neue Zeitschrift für Musik. For the models of the new Germans included not only Liszt the composer Hector Berlioz and Richard Wagner, to their representatives the pupil of Liszt, Joachim Raff, Peter Cornelius, Alexander Ritter, Felix Draeseke and Wendelin Weißheimer. As historical examples Ludwig van Beethoven ( composer ) and Robert Schumann were used ( as a critic ). The New German School involved a redefinition of the artist in society, in addition to the composition of music was the intellectual engagement with music, music criticism levied at a substantial responsibilities of the artist, the musician became an intellectual. This is an important foundation for the modern musical was laid.
Such a progressive flow also needed an opposition. This took Brendel among others Johannes Brahms, Joseph Joachim and Eduard Hanslick. ( Later, also the former New German Hans von Bülow turned against the movement. ) Here About it came with the new Germans to the so-called music dispute, which was held in the most popular music magazines, especially the Neue Zeitschrift für Musik and the Rheinische Musik-Zeitung. The issues and paradigms of the New German School shaped the musical aesthetic debates until the beginning of the 20th century. Here, the term established New German school of the direction in Germany, which declared the music drama and music program the epitome of progress in music. In the 20th century about Friedrich Klose, Richard Strauss and Siegmund von Haus Egger and musicologist Arthur Seidl were classified in this context.
The term implies a new German political goal direction or at least a national affiliation. However, contradicted by their dedicated internationality ( in the Triassic Berlioz, Liszt, Wagner). In fact, the young and the young Liszt Wagner were guided in their writings of early socialist social utopias that were connected to the ambition of a nation state. However, this political dimension was lost rather quickly in the journalistic dispute, only Brendel speaks in his essay " The Artwork of the Future and the individual arts " of a world society whose Leitkunst is the music drama ( Wagner ). The New German School and especially the symphonic poems of Liszt made but for many European artists a way to identify with their country and to develop their own " musical language " is how almost all national schools and styles (eg, Russia, Czech Republic and Finland) in the late 19th century in direct or indirect way by the aesthetics and the music of Liszt, Wagner and Berlioz's deductible.