Overview: The article presents original research, arguing about the role of A. B. Marx in influencing German national identity through concert life.
Context of the Article
Scholarly article: Reports original research with footnotes documenting sources.
Central argument: Marx aimed to establish a national identity through the promotion of absolute music, distinctly positioning German music as superior.
Suggested strategy: Take detailed notes on the main idea of each paragraph for a comprehensive understanding of Marx's argument.
Institutional Aspects of Symphony and Concert
Nationalism and Aesthetic Essence
The article explores nationalism within German absolute music theory.
Distinction made between high art (symphony) and entertainment music: German music labeled as superior, while foreign music is regarded as frivolous.
National and aesthetic values intertwine; this merging complicates the understanding of both categories historically and in the present.
Dahlhaus's Views: Suggests that absolute music became a standard for German culture; the author proposes it was driven by a growing notion of German cultural identity.
A. B. Marx's Influence
Role in Music Critique
Marx's role as a Berlin music critic was pivotal during Beethoven's time, advocating for the appreciation of symphonic works.
He characterized the symphony as a national treasure, contrasting its elevated status against foreign opera (primarily targeting Rossini and Spontini).
National Symphony Audience Development
Marx perceived a strong connection between nationalism and concert attendance, urging Germans to embrace symphonies by Haydn, Mozart, and Beethoven.
He claimed that only Germans could truly understand and appreciate symphonic works, asserting that the symphony represented the national character.
His strategy: Bolster national identity through exclusive rights to the symphony, promoting a sense of ownership among the German populace.
The Concept of Absolute Music
Definition and Distinction
Absolute Music: Concept defined by its independence from context or text; contrasted with occasion-dependent music (e.g., opera).
Criticism of the perception that score-oriented music has an aesthetic essence while performance-oriented music does not.
Marx critiques the treatment of separate movements within symphonies; insists they must be performed in totality to be fully appreciated.
Repeated Performances as a Learning Tool
Marx advocated for audiences to experience symphonic works multiple times to cultivate understanding and appreciation.
Notable performances: The Pastoral Symphony gaining popularity in Berlin through multiple performances, enhancing public's acquaintance with the symphonic repertoire.
Opposing Virtuosic Display
Marx differentiated his ideal concerts from those showcasing virtuosos that provided mere sensory pleasure, urging a focus on the depth of symphonic works.
The Institutionalization of Art Music
Music Critique and Education
Emphasized the need for a structured concert series promoting educational growth in music appreciation, instructing audiences through foundational works before tackling greater challenges.
Advocated for the exclusive performance of works by great composers (Beethoven, Haydn, and Mozart) while neglecting lesser works, promoting German music exclusively.
Addressed the challenges of inadequate orchestra training and knowledge of the repertoire, emphasizing the importance of a focused concert experience.
Conclusion
Marx's Legacy
Marx’s influence reshaped Berlin’s concert life, transitioning from a focus on entertainment to appreciating symphonic works as cultural assets central to German identity.
The article’s discourse connects music, nationalism, and cultural development in 19th-century Germany, reflecting on classifications of music and the evolution of concert expectations and experiences.
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