Controversial paths of Modernism: The exiled composer and Pianist Edward Steuermann (1892-1964) in his letters.The correspondence with Arnold Schoenberg, Theodor W. Adorno, Rudolf Kolisch, René Leibowitz, Michael Gielen, Max Deutsch and Erwin Ratz. A comm

现代主义的争议之路：流亡作曲家和钢琴家爱德华·斯图尔曼（Edward Steuermann，1892-1964）的信件。与阿诺德·勋伯格、西奥多·W·阿多诺、鲁道夫·科利什、雷内·莱博维茨、迈克尔·吉伦、马克斯·多伊奇和欧文·拉茨的通信。

• 批准号: 400686826
• 负责人: Professor Dr. Martin Zenck
• 金额: --
• 依托单位: Institut für Musikforschung
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2018
• 资助国家: 德国
• 起止时间: 2017-12-31 至 2021-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/400686826?language=en
• 关键词: Controversial; paths; Modernism; exiled; composer

The object of the research project is a commented critical study edition of mostly unpublised letters of the exiled composer and pianist Edward Steuermann (1893-1964), whose life’s journey and oeuvre comprise essential trajectories of 20th century musical history.Very important composer, interpreters, philosophers and musicologists correspond with each other in these letters, so looking at these correspondences in detail, which are for the most part deposited in various American and Swiss archives and can only be accessed with great difficulty, could open up completely new perspectives upon publication of this research. The planned edition shall overcome this painful desideratum. Among Steuermann’s correspondents is his composition teacher Arnold Schoenberg, with whom Steuermann was intensively in touch with until his death in 1951. Further correspondents were Theodor W. Adorno, who was Steuermann’s piano student and became an important friend later on, the famous violin player Rudolf Kolisch, musicologist and Primarius of the Kolisch-String-Quartet, than the eminent conductor, composer and music theoretician René Leibowitz and finally the musicologists Erwin Ratz and Max Deutsch. Furthermore, parts of the family correspondence between Steuermann and his nephew Michael Gielen shall be regarded too. These letters are to be commented and to be flanked by substantial introductory essays, in which the mostly unpulbished compositions by Steuermann, discussed in the letters, shall be intensely dealt with this edition, taking a new path in philological edition. The subjects of these envisaged essays shall deal with a much wider range than just musicological questions and shall take aspects of literary studies and socio-historical exile research into account.In terms of these detailed questions the following topics shall be discussed: first questions of the history of music are of significance: The consequences on the Schoenberg-School whose continuity was interrupted, which might make it difficult to speak of a single-sided identity-establishing pressure group; this aspect of a transatlantic perspective between Europe and USA could show a fundamental new conception of musical history under different cultural preconditions, especially in the USA with the prominent cultural expression of Jazz, of the culture industry and the neo-classcism; second the lifelong or limited situation of exile regarding the different ways to live and to cope with the situation chosen by Steuermann, Adorno and Kolisch after 1945 and their considerations on the possibility of returning to Germany or becoming a substantial and recognized part of American musical life; third the importance of certain writers and poets like Thomas Mann, Berthold Viertel, Bertolt Brecht and Franz Kafka for the correspondents. The goal of this research project is to open up a comprehensive and international discourse on these important stated questions based on this edition.

该研究项目的对象是流亡作曲家和钢琴家爱德华·斯图尔曼（1893-1964）的大部分未发表信件的评论批判性研究版本，他的人生旅程和作品构成了20世纪音乐史的重要轨迹。非常重要的作曲家、诠释者、哲学家和音乐学家在这些信件中相互通信，所以仔细研究这些信件，可以为这项研究的发表开辟全新的视角。这些信件大部分存放在美国和瑞士的各种档案中，要想获得这些信件是非常困难的。计划中的版本将克服这一痛苦的愿望。在施托尔曼的通讯记者中，有他的作曲老师阿诺德·勋伯格，施托尔曼一直与勋伯格保持密切联系，直到1951年去世。进一步的通信是西奥多·w·阿多诺，他是斯图尔曼的钢琴学生，后来成为他的重要朋友，著名的小提琴演奏家鲁道夫·科利施，音乐学家和科利施弦乐四重奏的首席，然后是著名的指挥家，作曲家和音乐理论家雷诺·莱博维茨，最后是音乐学家欧文·拉茨和马克斯·多伊奇。此外，Steuermann和他的侄子Michael Gielen之间的部分家庭通信也将被考虑在内。这些信件将被评论，并附有大量的介绍性文章，其中大部分未发表的作品由斯图尔曼，在信件中讨论，将在本版本中进行激烈的处理，在语言学版中采取新的路径。这些设想的论文的主题应该处理更广泛的范围，而不仅仅是音乐学问题，并应考虑到文学研究和社会历史流亡研究的各个方面。就这些细节问题而言，以下主题将被讨论：音乐史的第一个问题是有意义的：对舍恩伯格学派的影响，其连续性被打断，这可能使其难以谈论一个单方面建立身份的压力集团；这方面的跨大西洋视角的欧洲和美国之间可以显示在不同的文化前提下的音乐史的一个基本的新概念，特别是在美国与突出的文化表现爵士乐，文化工业和新古典主义；其次是终身或有限的流亡处境，关于1945年后施托尔曼、阿多诺和科利施选择的不同生活方式和应对处境，以及他们对返回德国或成为美国音乐生活中实质性和公认的一部分的可能性的考虑；第三，某些作家和诗人，如托马斯·曼、贝特霍尔德·维耶尔特、贝托尔特·布莱希特和弗朗茨·卡夫卡对记者的重要性。这个研究项目的目标是在这个版本的基础上，就这些重要的陈述问题开辟一个全面的和国际话语。