Shadows, wraiths, and amoebas:the distinctive flops of Anton Webern in the United States
On January 13, 1924, the music of Anton Webern was performed for the first time in the United States. It did not go well. Over the course of the next five years, performances of Webern’s works in the United States would become more frequent, but they just kept flopping. Some critics dismissed Webern...
Ausführliche Beschreibung
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| Autor*in: |
David H. Miller [verfasserIn] |
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| Format: |
E-Artikel |
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| Sprache: |
Englisch ; Französisch |
| Erschienen: |
2022 |
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| Schlagwörter: |
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| Übergeordnetes Werk: |
In: Transposition - Éditions de l'EHESS, 2019, 10(2022) |
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| Übergeordnetes Werk: |
volume:10 ; year:2022 |
| Links: |
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| DOI / URN: |
10.4000/transposition.6924 |
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| Katalog-ID: |
DOAJ029145457 |
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| 520 | |a On January 13, 1924, the music of Anton Webern was performed for the first time in the United States. It did not go well. Over the course of the next five years, performances of Webern’s works in the United States would become more frequent, but they just kept flopping. Some critics dismissed Webern’s compositions as “strange little things”; others went further, claiming that the music contained “neither melody, harmony, [n]or rhythm.” But if Webern’s music didn’t become better-liked during this period, it at least became better known. Webern developed a reputation distinct from that of his fellow modernists thanks to his incredibly quiet and remarkably brief compositions. Though critics did not respond positively to these qualities, they did take notice, with nearly every review from the period containing phrases such as “mere shadows of sound” or “scarcely perceptible tonal wraiths.” In one notable reception trend, Webern’s works were repeatedly likened to the sounds of animals, insects, skeletons, and even amoebas. Yet, far from presaging an eventual fading away, the initial flops endured by Webern’s music in the United States helped establish its staying power. The music may have failed, but in doing so it drew attention to Webern as an idiosyncratic composer unlike any other. As Nicolas Slonimsky once argued, “[n]ot every musical monstrosity is a potential musical masterpiece, but its chances of becoming one are measurably better than those of a respectable composition of mediocre quality.” Put another way, the story of Webern’s music in the United States proves that it matters how you flop. | ||
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10.4000/transposition.6924 doi (DE-627)DOAJ029145457 (DE-599)DOAJc80a8ab21a774b2b8513dfb9a1c4e408 DE-627 ger DE-627 rakwb eng fre David H. Miller verfasserin aut Shadows, wraiths, and amoebas:the distinctive flops of Anton Webern in the United States 2022 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier On January 13, 1924, the music of Anton Webern was performed for the first time in the United States. It did not go well. Over the course of the next five years, performances of Webern’s works in the United States would become more frequent, but they just kept flopping. Some critics dismissed Webern’s compositions as “strange little things”; others went further, claiming that the music contained “neither melody, harmony, [n]or rhythm.” But if Webern’s music didn’t become better-liked during this period, it at least became better known. Webern developed a reputation distinct from that of his fellow modernists thanks to his incredibly quiet and remarkably brief compositions. Though critics did not respond positively to these qualities, they did take notice, with nearly every review from the period containing phrases such as “mere shadows of sound” or “scarcely perceptible tonal wraiths.” In one notable reception trend, Webern’s works were repeatedly likened to the sounds of animals, insects, skeletons, and even amoebas. Yet, far from presaging an eventual fading away, the initial flops endured by Webern’s music in the United States helped establish its staying power. The music may have failed, but in doing so it drew attention to Webern as an idiosyncratic composer unlike any other. As Nicolas Slonimsky once argued, “[n]ot every musical monstrosity is a potential musical masterpiece, but its chances of becoming one are measurably better than those of a respectable composition of mediocre quality.” Put another way, the story of Webern’s music in the United States proves that it matters how you flop. Anton Webern; United States; Symphony op. 21; League of Composers; International Composers’ Guild Music and books on Music M In Transposition Éditions de l'EHESS, 2019 10(2022) (DE-627)1684079969 (DE-600)3002022-0 21106134 nnns volume:10 year:2022 https://doi.org/10.4000/transposition.6924 kostenfrei https://doaj.org/article/c80a8ab21a774b2b8513dfb9a1c4e408 kostenfrei http://journals.openedition.org/transposition/6924 kostenfrei https://doaj.org/toc/2110-6134 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_370 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2086 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 10 2022 |
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10.4000/transposition.6924 doi (DE-627)DOAJ029145457 (DE-599)DOAJc80a8ab21a774b2b8513dfb9a1c4e408 DE-627 ger DE-627 rakwb eng fre David H. Miller verfasserin aut Shadows, wraiths, and amoebas:the distinctive flops of Anton Webern in the United States 2022 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier On January 13, 1924, the music of Anton Webern was performed for the first time in the United States. It did not go well. Over the course of the next five years, performances of Webern’s works in the United States would become more frequent, but they just kept flopping. Some critics dismissed Webern’s compositions as “strange little things”; others went further, claiming that the music contained “neither melody, harmony, [n]or rhythm.” But if Webern’s music didn’t become better-liked during this period, it at least became better known. Webern developed a reputation distinct from that of his fellow modernists thanks to his incredibly quiet and remarkably brief compositions. Though critics did not respond positively to these qualities, they did take notice, with nearly every review from the period containing phrases such as “mere shadows of sound” or “scarcely perceptible tonal wraiths.” In one notable reception trend, Webern’s works were repeatedly likened to the sounds of animals, insects, skeletons, and even amoebas. Yet, far from presaging an eventual fading away, the initial flops endured by Webern’s music in the United States helped establish its staying power. The music may have failed, but in doing so it drew attention to Webern as an idiosyncratic composer unlike any other. As Nicolas Slonimsky once argued, “[n]ot every musical monstrosity is a potential musical masterpiece, but its chances of becoming one are measurably better than those of a respectable composition of mediocre quality.” Put another way, the story of Webern’s music in the United States proves that it matters how you flop. Anton Webern; United States; Symphony op. 21; League of Composers; International Composers’ Guild Music and books on Music M In Transposition Éditions de l'EHESS, 2019 10(2022) (DE-627)1684079969 (DE-600)3002022-0 21106134 nnns volume:10 year:2022 https://doi.org/10.4000/transposition.6924 kostenfrei https://doaj.org/article/c80a8ab21a774b2b8513dfb9a1c4e408 kostenfrei http://journals.openedition.org/transposition/6924 kostenfrei https://doaj.org/toc/2110-6134 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_370 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2086 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 10 2022 |
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10.4000/transposition.6924 doi (DE-627)DOAJ029145457 (DE-599)DOAJc80a8ab21a774b2b8513dfb9a1c4e408 DE-627 ger DE-627 rakwb eng fre David H. Miller verfasserin aut Shadows, wraiths, and amoebas:the distinctive flops of Anton Webern in the United States 2022 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier On January 13, 1924, the music of Anton Webern was performed for the first time in the United States. It did not go well. Over the course of the next five years, performances of Webern’s works in the United States would become more frequent, but they just kept flopping. Some critics dismissed Webern’s compositions as “strange little things”; others went further, claiming that the music contained “neither melody, harmony, [n]or rhythm.” But if Webern’s music didn’t become better-liked during this period, it at least became better known. Webern developed a reputation distinct from that of his fellow modernists thanks to his incredibly quiet and remarkably brief compositions. Though critics did not respond positively to these qualities, they did take notice, with nearly every review from the period containing phrases such as “mere shadows of sound” or “scarcely perceptible tonal wraiths.” In one notable reception trend, Webern’s works were repeatedly likened to the sounds of animals, insects, skeletons, and even amoebas. Yet, far from presaging an eventual fading away, the initial flops endured by Webern’s music in the United States helped establish its staying power. The music may have failed, but in doing so it drew attention to Webern as an idiosyncratic composer unlike any other. As Nicolas Slonimsky once argued, “[n]ot every musical monstrosity is a potential musical masterpiece, but its chances of becoming one are measurably better than those of a respectable composition of mediocre quality.” Put another way, the story of Webern’s music in the United States proves that it matters how you flop. Anton Webern; United States; Symphony op. 21; League of Composers; International Composers’ Guild Music and books on Music M In Transposition Éditions de l'EHESS, 2019 10(2022) (DE-627)1684079969 (DE-600)3002022-0 21106134 nnns volume:10 year:2022 https://doi.org/10.4000/transposition.6924 kostenfrei https://doaj.org/article/c80a8ab21a774b2b8513dfb9a1c4e408 kostenfrei http://journals.openedition.org/transposition/6924 kostenfrei https://doaj.org/toc/2110-6134 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_370 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2086 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 10 2022 |
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10.4000/transposition.6924 doi (DE-627)DOAJ029145457 (DE-599)DOAJc80a8ab21a774b2b8513dfb9a1c4e408 DE-627 ger DE-627 rakwb eng fre David H. Miller verfasserin aut Shadows, wraiths, and amoebas:the distinctive flops of Anton Webern in the United States 2022 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier On January 13, 1924, the music of Anton Webern was performed for the first time in the United States. It did not go well. Over the course of the next five years, performances of Webern’s works in the United States would become more frequent, but they just kept flopping. Some critics dismissed Webern’s compositions as “strange little things”; others went further, claiming that the music contained “neither melody, harmony, [n]or rhythm.” But if Webern’s music didn’t become better-liked during this period, it at least became better known. Webern developed a reputation distinct from that of his fellow modernists thanks to his incredibly quiet and remarkably brief compositions. Though critics did not respond positively to these qualities, they did take notice, with nearly every review from the period containing phrases such as “mere shadows of sound” or “scarcely perceptible tonal wraiths.” In one notable reception trend, Webern’s works were repeatedly likened to the sounds of animals, insects, skeletons, and even amoebas. Yet, far from presaging an eventual fading away, the initial flops endured by Webern’s music in the United States helped establish its staying power. The music may have failed, but in doing so it drew attention to Webern as an idiosyncratic composer unlike any other. As Nicolas Slonimsky once argued, “[n]ot every musical monstrosity is a potential musical masterpiece, but its chances of becoming one are measurably better than those of a respectable composition of mediocre quality.” Put another way, the story of Webern’s music in the United States proves that it matters how you flop. Anton Webern; United States; Symphony op. 21; League of Composers; International Composers’ Guild Music and books on Music M In Transposition Éditions de l'EHESS, 2019 10(2022) (DE-627)1684079969 (DE-600)3002022-0 21106134 nnns volume:10 year:2022 https://doi.org/10.4000/transposition.6924 kostenfrei https://doaj.org/article/c80a8ab21a774b2b8513dfb9a1c4e408 kostenfrei http://journals.openedition.org/transposition/6924 kostenfrei https://doaj.org/toc/2110-6134 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_370 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2086 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 10 2022 |
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shadows, wraiths, and amoebas:the distinctive flops of anton webern in the united states |
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Shadows, wraiths, and amoebas:the distinctive flops of Anton Webern in the United States |
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On January 13, 1924, the music of Anton Webern was performed for the first time in the United States. It did not go well. Over the course of the next five years, performances of Webern’s works in the United States would become more frequent, but they just kept flopping. Some critics dismissed Webern’s compositions as “strange little things”; others went further, claiming that the music contained “neither melody, harmony, [n]or rhythm.” But if Webern’s music didn’t become better-liked during this period, it at least became better known. Webern developed a reputation distinct from that of his fellow modernists thanks to his incredibly quiet and remarkably brief compositions. Though critics did not respond positively to these qualities, they did take notice, with nearly every review from the period containing phrases such as “mere shadows of sound” or “scarcely perceptible tonal wraiths.” In one notable reception trend, Webern’s works were repeatedly likened to the sounds of animals, insects, skeletons, and even amoebas. Yet, far from presaging an eventual fading away, the initial flops endured by Webern’s music in the United States helped establish its staying power. The music may have failed, but in doing so it drew attention to Webern as an idiosyncratic composer unlike any other. As Nicolas Slonimsky once argued, “[n]ot every musical monstrosity is a potential musical masterpiece, but its chances of becoming one are measurably better than those of a respectable composition of mediocre quality.” Put another way, the story of Webern’s music in the United States proves that it matters how you flop. |
| abstractGer |
On January 13, 1924, the music of Anton Webern was performed for the first time in the United States. It did not go well. Over the course of the next five years, performances of Webern’s works in the United States would become more frequent, but they just kept flopping. Some critics dismissed Webern’s compositions as “strange little things”; others went further, claiming that the music contained “neither melody, harmony, [n]or rhythm.” But if Webern’s music didn’t become better-liked during this period, it at least became better known. Webern developed a reputation distinct from that of his fellow modernists thanks to his incredibly quiet and remarkably brief compositions. Though critics did not respond positively to these qualities, they did take notice, with nearly every review from the period containing phrases such as “mere shadows of sound” or “scarcely perceptible tonal wraiths.” In one notable reception trend, Webern’s works were repeatedly likened to the sounds of animals, insects, skeletons, and even amoebas. Yet, far from presaging an eventual fading away, the initial flops endured by Webern’s music in the United States helped establish its staying power. The music may have failed, but in doing so it drew attention to Webern as an idiosyncratic composer unlike any other. As Nicolas Slonimsky once argued, “[n]ot every musical monstrosity is a potential musical masterpiece, but its chances of becoming one are measurably better than those of a respectable composition of mediocre quality.” Put another way, the story of Webern’s music in the United States proves that it matters how you flop. |
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On January 13, 1924, the music of Anton Webern was performed for the first time in the United States. It did not go well. Over the course of the next five years, performances of Webern’s works in the United States would become more frequent, but they just kept flopping. Some critics dismissed Webern’s compositions as “strange little things”; others went further, claiming that the music contained “neither melody, harmony, [n]or rhythm.” But if Webern’s music didn’t become better-liked during this period, it at least became better known. Webern developed a reputation distinct from that of his fellow modernists thanks to his incredibly quiet and remarkably brief compositions. Though critics did not respond positively to these qualities, they did take notice, with nearly every review from the period containing phrases such as “mere shadows of sound” or “scarcely perceptible tonal wraiths.” In one notable reception trend, Webern’s works were repeatedly likened to the sounds of animals, insects, skeletons, and even amoebas. Yet, far from presaging an eventual fading away, the initial flops endured by Webern’s music in the United States helped establish its staying power. The music may have failed, but in doing so it drew attention to Webern as an idiosyncratic composer unlike any other. As Nicolas Slonimsky once argued, “[n]ot every musical monstrosity is a potential musical masterpiece, but its chances of becoming one are measurably better than those of a respectable composition of mediocre quality.” Put another way, the story of Webern’s music in the United States proves that it matters how you flop. |
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