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（Edward Steuermann，1893-1964）大部分未发表的信件的评论批判研究版，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、诠释者、哲学家和音乐学家在这些信件中相互通信，因此请详细查看这些通信，这些通信大部分存放在美国和瑞士的各个地方。 档案并且很难访问，但这项研究的发表可能会开辟全新的视角。计划中的版本将克服这个痛苦的愿望。斯图尔曼的通讯员中有他的作曲老师阿诺德·勋伯格，直到他于 1951 年去世为止，他一直与他保持着密切的联系。其他通讯员还有西奥多·W·阿多诺（Theodor W. Adorno），他是斯图尔曼的钢琴学生，后来成为他的重要朋友，著名小提琴演奏家鲁道夫·科利什（Rudolf Kolisch），音乐学家和科利什弦乐四重奏组的首席指挥家，作曲家。 和音乐理论家雷内·莱博维茨，最后是音乐学家欧文·拉茨和马克斯·多伊奇。此外，斯图尔曼和他的侄子迈克尔·吉伦之间的部分家庭信件也应予以考虑。这些信件将被评论，并附有大量的介绍性文章，其中信件中讨论的斯托伊尔曼大部分未出版的作品将在这个版本中得到集中处理，在语言学版本中走一条新路。这些设想的论文主题将涉及比音乐学问题更广泛的范围，并应考虑到文学研究和流亡社会历史研究的各个方面。就这些详细问题而言，应讨论以下主题：音乐史的第一个问题具有重要意义：对连续性被中断的勋伯格学派的后果，这可能使谈论单方面的身份建立压力集团变得困难；欧洲和美国之间跨大西洋视角的这一方面可以展示不同文化前提下音乐史的根本性新概念，特别是在爵士乐、文化工业和新古典主义等文化表现突出的美国；其次是关于1945年后Steuermann、Adorno和Kolisch所选择的不同生活方式和应对情况的终身或有限的流亡状况，以及他们对返回德国或成为美国音乐生活的重要和公认的一部分的可能性的考虑；第三，托马斯·曼、伯特霍尔德·维尔特尔、贝尔托·布莱希特和弗朗茨·卡夫卡等某些作家和诗人对记者的重要性。该研究项目的目标是基于本版本就这些重要的既定问题展开全面的国际讨论。