Modernism, Maximalism: Strauss and Mahler
Modernism
Late nineteenth and early 1914. Modernism marked by historical events and social and political decadence of Romanticism and its ideals. A new generation more optimistic. Maximalism arises from the decay of German Romanticism, looked at with irony. The new generation is at odds with romance and stretches the possibilities of music. The end of romance is the germ of the post-Romantic Movement: Expressionism, Futurism, Maximalism, Impressionism, Nationalism… the rise of the isms. The most representative maximizers are Strauss and Mahler.
Modernism is currently living in the developments, but looking back. It involves commitment to the future, seen in technical development and auditoriums. It affirms the superiority of the present against the past, implying optimism and faith in progress. Industrialization, leaving the countryside for the cities and their agglomeration, causes worse living conditions and disappointment among the population. The new generation is different, confident, and optimistic about progress.
With modernism, other movements question whether Wagner is modernist in its characteristics. German modernism has its roots in Judaism and irony towards Wagner degrades his figure. They are ideological and have social consequences that emerge in the 30s-40s.
In the nineteenth century, composer Wagner is the most innovative, but he did not have the modernist vision. His reference was something pre-modern art but not futuristic. In the German sphere of friends and enemies of Wagner, influenced by Brahms, they parted ways: Mahler and Schoenberg. Their modernism is an expression of social and racial emancipation because both are Jewish. Strauss and Mahler do not identify with modernism. They do not want to break with the musical tradition to avoid losing their status as musicians. Strauss is more optimistic and does not break with this. Salome. Mahler is more pessimistic. He also carried the burden of being Jewish. He was a great orchestra director and was climbing. He became a Catholic for the Vienna Opera.
Maximalism, Strauss, and Mahler
Proposals: 1.llevar to end the emotional issue that Wagner and carried very altos.2.Sentido points religioso3.Explotar fear oriental4mezclar sensuality and exoticism with the banal expression means used profundaLos Wagner extends media noise floor; very large movements, the extension of volume and texture; increase maneuverability of tonality, dissonance and resolution. It also continues the line of Brahms with the workers motivated, peak densos.La Maximizer textural Stefan Weltanschuavugsmusik calls, ie linked to the music world view. Mahler is representative of this trend. This movement works given large, ambitious, using all resources at the technical level and composition to resolve metaphysical questions. Looking for answers to questions about form, about whether he could overcome the sense of the word. Absolute music is as rich channel to express issues that expression templates were immense orchestral symphonies Mahler makes great because he wants to “build a world with all possible elements” (as opposed to what they think Wagner). Switch uses the chorus in the symphony but focuses on the drama. Strauss Orientalism tends more towards the opera and the symphonic poemMahler 1860-1911 Maximo Weltanschuavugsmusik.Hace representative of 10 symphonies between 1888 and 1910, while the last was unfinished at his death. Of these, the numbers 2, 3, 4 and 8-the only life that enabled him to win the only sounded on their debut, including the human voice, amplified to extreme consequences the model complex coral Beethoven in the latter part of his Ninth . As Wagner or Bruckner, Mahler uses extensive resources orquestales.anticipa the twentieth century in terms of finding color in the different instruments, the use of small ensembles and the inclusion of some rare instruments like the mandolin and harmonium. His music is always contrapuntal. For him, the orchestration is a tool used to obtain the greatest possible clarity in the different lines is the maximum musicales.Mahler evolution of the romantic symphony. “To me, he would say,” compose a symphony tantamount to an act of creation of the world. ” Amendment to their works to largodel time to its perfection. Mahler remained within it, but altering its basic premise: the majority of his symphonies have progressive tonal patterns that end in a different key to start. He was aware of the disintegration of the harmonic and formal values lived
The Mahler symphonies are a psychological journey, usually in the form of a titanic struggle between optimism and despair expressed ironically. His music conveys ultimately a combination of human vulnerability and consummate musicianship. N1 Sinfonia in D, released as a symphonic poem in two parts 84 and 89 with his program “Titan”. The indications oferece program to boost their fantasy but the music is independent manifestation .- heterogeneous compositional work – elements from different sources (popular tunes, marches, fanfares) in a formal framework inherited from the Viennese classical tradition – Dilated proportions and long duration of symphony, which contribute to generate a current hostile to music – he will guide a minority enthusiast (2nd Viennese school) from which Mahler is a precursor. It was very controversial and authoritarian must be construed as one written, thus inaugurating the literal interpretation. Believes that tradition is synonymous desdejadez.
Strauss 1864-1951
In the symphonic poems combine their high poetic inspiration with absolute musical form. According to him a good program can motivate new poetic formal constructions, but when the music does not develop alternatives to fulfill the functions of the program becomes literaria.Strauss music, began writing symphonic poems in the period was as Kapellmeister Aus Italien ( 1886) or Don Juan (1889), entering for the first time in the operatic field with Guntram (1894), a work of Wagnerian influence.
Operatic career began with Salome (1905) and Electra (1909), true masterpieces of German musical expressionism. This style will be changed soon drifting towards some ways eighteenth (Neo-Classicism of Mozart) treated with technical and instrumental resources of the early twentieth century. Example of this period is Der Rosenkavalier (1911) or Ariadne auf Naxos (1912), this period ends with Frau ohne Schatten (1919), obrfull of resources to psychological and symbolic images difficult interpretar.En 20 ‘, continue with this line, short of earlier successes achieved, and finally at 30’, coinciding with the death of his librettist Hugo von Hofmannsthal, the problems of not to use composite material for Jews and having to turn to other librettists side, make Strauss loses the originality and skill that characterized the production of his operatic comienzos.siguiendo the Wagner’s leitmotif technique and stage a convincing characterization of actions and characters, but also uses the contemplative concert that furthers the development of the action not just by words but with music. The rate contains much thematic material, manipulates and works with orchestral sonority genius musician requiring high level, new effects of instrumental color. The instrumentation reflects the text.
Salome in Dresden 1905 Directed by Mahler in 1905. Salome is the image of the crazed sensuality without other end but death. Darama in one act, viscous and dense orchestration with a continuous return three leitmotifs, tormented and twisted, with a broken and troubled song. Most importantly, seamless unit, the orchestra leads to the general discourse by giving space to short ariosi. From the famous dance of 7 veils to necrófito Salome kiss on the mouth of the decapitated Yokana, the orchestra tends irresistible single expressive arch of exasperation suddenly breaks when Salome is crushed by the shields of the soldiers.
Elektra 1908 The identifies with librettist Hofmannsthal, with whom he worked until his death. Have fear of contaminating the text similarities with Salome, because once again a single act, a female figure in the central devoured by a terrible sensuality (resolved in thirst for revenge for the dead father and in morbiditya relationship with the sister and brother), resolution with the traumatic death of Electra. Still has a much more dramatic approach rich and disturbing the other operates. Includes cries at the scene and the dance ends with Elektra and leads to death. Hence a hallucination climate is intolerable for contemporary music. With these operations Strauss goes beyond the limits of these 2 operas tonalidad.Tras is reversed and again in 1911 with the Knight of the Rose, Rosenkavalier, hedonistic trend within the meaning and rhetoric on his ability to mastermind and architect of great buildings sound. For tonal passages carry the futurists call him a traitor .. Women 1919 or if the name “Aiadna in N Axos, chamber ensemble of 35 musicians.