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

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)的书信评论研究版，这些书信大多未出版，他的一生和全部作品构成了20世纪音乐史的基本轨迹。许多重要的作曲家、翻译家、哲学家和音乐学家在这些书信中相互通信，所以详细查看这些书信，可以在这项研究发表后打开全新的视角。这些书信大多存放在美国和瑞士的各种档案中，只有在很大程度上才能找到。计划中的版本将克服这种痛苦的渴望。斯图尔曼的通讯员中有他的作文老师阿诺德·勋伯格，斯图尔曼与他保持着密切的联系，直到1951年去世。其他记者有西奥多·W·阿多诺，他是斯图尔曼的钢琴学生，后来成为重要的朋友，著名的小提琴家鲁道夫·科利施，音乐学家和柯利施弦乐四重奏的首席奏鸣者，而不是著名的指挥家、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通信也应被视为。这些信件将被评论，并被大量的介绍性散文，其中斯图尔曼的大部分未拔出的组成，在信件中讨论，应集中处理这一版本，采取了一条新的道路上的语文版本。这些设想的散文的主题将不仅仅是音乐学问题，而且应该考虑文学研究和社会历史流放研究的各个方面。根据这些详细的问题，以下主题将被讨论：第一，音乐史问题具有重要意义：对勋伯格学派的影响，其连续性被中断，这可能使谈论一个单方面的身份建立压力集团变得困难；从欧洲和美国的跨大西洋视角来看，这一方面可以展示不同文化前提下对音乐史的全新看法，特别是在以爵士乐、文化产业和新古典主义为突出文化表现的美国；第二，关于1945年以后斯图尔曼、阿多诺和柯利施选择的不同生活方式和应对情况的终身或有限的流亡情况，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，托马斯·曼、贝托尔德·维耶尔、贝托尔特·布莱切特和弗朗茨·卡夫卡等作家和诗人对记者的重要性。这项研究项目的目标是在这个版本的基础上，对这些重要的陈述问题展开全面的、国际化的论述。

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.