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

该研究项目的对象是一个评论的批判性研究版的流亡作曲家和钢琴家爱德华施托伊尔曼大部分未公开的信件（1893-1964），他的人生旅程和作品构成了20世纪音乐史的基本轨迹。非常重要的作曲家，口译员，哲学家和音乐学家在这些信件中相互对应，所以仔细看这些对应，这些文件大部分存放在美国和瑞士的各种档案馆中，只有在非常困难的情况下才能获得，在这项研究发表后，可能会开辟全新的视角。计划中的版本将克服这一痛苦的迫切需要。施图尔曼的通信者中有他的作曲老师阿诺德·勋伯格，施图尔曼一直与他保持密切联系，直到1951年去世。其他通讯员是西奥多W。阿多诺是施图尔曼的钢琴学生，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普里马里斯，著名的指挥家，作曲家和音乐理论家勒内·莱博维茨，最后是音乐学家埃尔温·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应该被考虑。这些信件将被评论，并被大量的介绍性文章，其中大多数未出版的作品由施托伊尔曼，在信件中讨论，应强烈处理这个版本，在语言学版本采取新的道路两侧。这些设想的论文的主题将涉及比音乐学问题更广泛的范围，并将考虑文学研究和社会历史流亡研究的各个方面。根据这些详细的问题，将讨论以下主题：音乐史的第一个问题是重要的：对连续性被中断的勋伯格学派的后果，这可能使人们很难谈论一个片面的身份确立压力集团;从跨大西洋视角看欧美音乐史，可以看到不同文化背景下的音乐史的新观念，特别是在美国，以爵士乐、文化工业和新古典主义为突出的文化表现形式;第二，终身或有限的流亡情况，关于不同的生活方式，以科普由施托伊尔曼选择的情况，1945年后的阿多诺和科利施及其对回归德国或成为美国社会的一部分的可能性的思考音乐生活;第三，某些作家和诗人的重要性，如托马斯曼，贝特霍尔德维尔特尔，贝托尔特布雷希特和弗朗茨Kafka的记者。本研究项目的目标是在此版本的基础上，就这些重要的问题展开全面的国际讨论。

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.