Shades of the Double's Original: René Leibowitz's dispute with Boulez
Identifieur interne : 000A04 ( Istex/Corpus ); précédent : 000A03; suivant : 000A05Shades of the Double's Original: René Leibowitz's dispute with Boulez
Auteurs : Reinhard KappSource :
- Tempo [ 0040-2982 ] ; 1988-06.
Abstract
LEIBOWITZ IS DEAD, but the hostility smoulders on, and one wonders what, beyond personal involvement, lay behind it. Boulez, too, has long been relegated to the unending line of historical cases—as can be seen from the ‘dated’ impression made by the second volume of Musikdenken heute. It seems difficult to revert to an earlier stage of musical theory, let alone one even earlier than that, without invoking purely ‘historical interest’. But the pre-history of the serial movement, which has left its traces on everyone's consciousness, could explain both its signal success and its ignominious failure. Its collapse has been total; the ostensible reasons for the abandonment of the movement were no less threadbare than for its inception. Leibowitz, the ‘classic dodecaphonist’, left some theoretical loopholes, but one can hardly make him the scapegoat for errors lying outside his responsibility. Even in retrospect, his mowing down by ‘progress’ cannot be justified; but it is not merely an act of reparation if one still, or once more, gives him serious consideration.
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DOI: 10.1017/S0040298200024050
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Boulez, too, has long been relegated to the unending line of historical cases—as can be seen from the ‘dated’ impression made by the second volume of Musikdenken heute. It seems difficult to revert to an earlier stage of musical theory, let alone one even earlier than that, without invoking purely ‘historical interest’. But the pre-history of the serial movement, which has left its traces on everyone's consciousness, could explain both its signal success and its ignominious failure. Its collapse has been total; the ostensible reasons for the abandonment of the movement were no less threadbare than for its inception. Leibowitz, the ‘classic dodecaphonist’, left some theoretical loopholes, but one can hardly make him the scapegoat for errors lying outside his responsibility. Even in retrospect, his mowing down by ‘progress’ cannot be justified; but it is not merely an act of reparation if one still, or once more, gives him serious consideration.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Reinhard Kapp</name></json:item></author><articleId><json:string>02405</json:string></articleId><arkIstex>ark:/67375/6GQ-7CCS09SH-N</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>LEIBOWITZ IS DEAD, but the hostility smoulders on, and one wonders what, beyond personal involvement, lay behind it. Boulez, too, has long been relegated to the unending line of historical cases—as can be seen from the ‘dated’ impression made by the second volume of Musikdenken heute. It seems difficult to revert to an earlier stage of musical theory, let alone one even earlier than that, without invoking purely ‘historical interest’. But the pre-history of the serial movement, which has left its traces on everyone's consciousness, could explain both its signal success and its ignominious failure. Its collapse has been total; the ostensible reasons for the abandonment of the movement were no less threadbare than for its inception. Leibowitz, the ‘classic dodecaphonist’, left some theoretical loopholes, but one can hardly make him the scapegoat for errors lying outside his responsibility. 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At present he is working as an editor at the Richard-Wagner-Gesamtausgabe in Munich.</note><affiliation>Reinhard Kapp (b. 1947) studied musicology in Berlin with Rudolf Stephan. At present he is working as an editor at the Richard-Wagner-Gesamtausgabe in Munich.</affiliation></author><idno type="istex">3C58AC6D03DCCB89BEE4923A0644E028C2FFA572</idno><idno type="ark">ark:/67375/6GQ-7CCS09SH-N</idno><idno type="DOI">10.1017/S0040298200024050</idno><idno type="PII">S0040298200024050</idno><idno type="article-id">02405</idno></analytic><monogr><title level="j">Tempo</title><title level="j" type="abbrev">Tempo</title><idno type="pISSN">0040-2982</idno><idno type="eISSN">1478-2286</idno><idno type="publisher-id">TEM</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1988-06"></date><biblScope unit="volume">2</biblScope><biblScope unit="issue">165</biblScope><biblScope unit="page" from="2">2</biblScope><biblScope unit="page" to="16">16</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1988</date></creation><langUsage><language ident="en">en</language></langUsage><abstract xml:lang="en" style="text-abstract"><p>LEIBOWITZ IS DEAD, but the hostility smoulders on, and one wonders what, beyond personal involvement, lay behind it. Boulez, too, has long been relegated to the unending line of historical cases—as can be seen from the ‘dated’ impression made by the second volume of Musikdenken heute. It seems difficult to revert to an earlier stage of musical theory, let alone one even earlier than that, without invoking purely ‘historical interest’. But the pre-history of the serial movement, which has left its traces on everyone's consciousness, could explain both its signal success and its ignominious failure. Its collapse has been total; the ostensible reasons for the abandonment of the movement were no less threadbare than for its inception. Leibowitz, the ‘classic dodecaphonist’, left some theoretical loopholes, but one can hardly make him the scapegoat for errors lying outside his responsibility. Even in retrospect, his mowing down by ‘progress’ cannot be justified; but it is not merely an act of reparation if one still, or once more, gives him serious consideration.</p></abstract></profileDesc><revisionDesc><change when="1988-06">Published</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.2" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">TEM</journal-id><journal-title>Tempo</journal-title><abbrev-journal-title>Tempo</abbrev-journal-title><issn pub-type="ppub">0040-2982</issn><issn pub-type="epub">1478-2286</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0040298200024050</article-id><article-id pub-id-type="pii">S0040298200024050</article-id><article-id pub-id-type="publisher-id">02405</article-id><title-group><article-title>Shades of the Double's Original<xref ref-type="fn" rid="fn01">*</xref>: René Leibowitz's dispute with Boulez</article-title><alt-title alt-title-type="left-running">TEMPO</alt-title><alt-title alt-title-type="right-running">SHADES OF THE DOUBLE'S ORIGINAL</alt-title><fn-group><fn id="fn01" symbol="*"><label>*</label><p>Mr. Kapp's article—originally published in <italic>Zeitschrift für Musiktheorie 2</italic> (1987), Heft 1, and reproduced here by kind permission in a special translation for TEMPO by Inge Goodwin—bears the German title ‘Die Schatten des Urbilds des Doubles’: an allusion to Leibowitz's book <italic>Le Compositeur et son double</italic> (1971) which itself alludes to Artaud's <italic>Le Theâtre et son double</italic>—and also a novella by Peter Weiss, <italic>Der Scliatten des Körpers des Kutschers</italic> (literally, ‘The Shade of the Coachman's Corpse’)—Ed.</p></fn></fn-group></title-group><contrib-group><contrib><name name-style="western"><surname>Kapp</surname><given-names>Reinhard</given-names></name><bio><p>Reinhard Kapp (b. 1947) studied musicology in Berlin with Rudolf Stephan. At present he is working as an editor at the <italic>Richard-Wagner-Gesamtausgabe</italic> in Munich.</p></bio></contrib></contrib-group><pub-date pub-type="ppub"><month>06</month><year>1988</year></pub-date><issue>165</issue><fpage seq="3">2</fpage><lpage>16</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1988</copyright-statement><copyright-year>1988</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>LEIBOWITZ IS DEAD, but the hostility smoulders on, and one wonders what, beyond personal involvement, lay behind it. Boulez, too, has long been relegated to the unending line of historical cases—as can be seen from the ‘dated’ impression made by the second volume of <italic>Musikdenken heute</italic>. It seems difficult to revert to an earlier stage of musical theory, let alone one even earlier than that, without invoking purely ‘historical interest’. But the pre-history of the serial movement, which has left its traces on everyone's consciousness, could explain both its signal success and its ignominious failure. Its collapse has been total; the ostensible reasons for the abandonment of the movement were no less threadbare than for its inception. Leibowitz, the ‘classic dodecaphonist’, left some theoretical loopholes, but one can hardly make him the scapegoat for errors lying outside his responsibility. Even in retrospect, his mowing down by ‘progress’ cannot be justified; but it is not merely an act of reparation if one still, or once more, gives him serious consideration.</p></abstract><counts><page-count count="15"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0040298200024050a.pdf</meta-value></custom-meta><custom-meta><meta-name>series</meta-name><meta-value>1</meta-value></custom-meta><custom-meta><meta-name>seriesText</meta-name><meta-value>New Series</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn02" symbol="†"><label><sup>†</sup></label><p><citation citation-type="book" id="ref001"><source>Musikdenken heute 2</source>, trans. <name name-style="western"><surname>Häusler</surname><given-names>Josef</given-names></name> (<publisher-loc>Mainz</publisher-loc>: <publisher-name>Schott</publisher-name> <year>1985</year>)</citation>, corresponds approximately to the newly-published material in the collected English edition of Boulez's writings. <citation citation-type="book" id="ref002"><source>Orientations</source>, trans. <name name-style="western"><surname>Cooper</surname><given-names>Martin</given-names></name> (<publisher-loc>London</publisher-loc>: <publisher-name>Faber</publisher-name>. <year>1986</year>)—Ed</citation>.</p></fn><fn id="fn03" symbol="*"><label><sup>*</sup></label><p>For an outline account of Leibowitz's life and compositions, see the two articles byjan Magnire published in TEMPO 131 and 132. Reinhard Kapp has published a bibliography of <citation citation-type="journal" id="ref003"><name name-style="western"><surname>Leibowitz's</surname></name> writings: ‘<article-title>Materialien zu cinem Verzeichuis der Scbriften von René Leibowitz</article-title>,’ <source>Zeitschrifl flir Musiktheorie</source> <volume>2</volume> (<year>1987</year>), Heft 3, pp. <fpage>275</fpage>ff—Ed</citation>.</p></fn><fn id="fn04" symbol="1"><label><sup>1</sup></label><p>The reproach of academicism, which was raised by all the interested parties on the most various occasions, for that reason lost much ot its force; I think one can leave it at that.</p></fn><fn id="fn05" symbol="2"><label><sup>2</sup></label><p>At present in the Schoenberg Museum, Mödling, Vienna.</p></fn><fn id="fn06" symbol="3"><label><sup>3</sup></label><p><citation citation-type="journal" id="ref004"><source>Besuch bei Arnold Schöherg</source>, in: SMZ <volume>89</volume> (<year>1949</year>), p. <fpage>324</fpage></citation>.</p></fn><fn id="fn07" symbol="4"><label><sup>4</sup></label><p><citation citation-type="journal" id="ref005"><source>La Revue musicale</source> <volume>17</volume> (<year>1936</year>), p. <fpage>167</fpage></citation> (Works by Schubert, Herscher-Clément, Leibowitz, Waterman): ‘Nullc musique ne pouvait faire un plus violent contraste avec celle des Danois, que le <italic>Concertino</italic> pour alto de René Leibowitz. Ici, toute la volonté est tendue vers les extremês limites d'une expression âpre et inéprouvée. La syntaxe, issue de celle des Viennois de la lignée Schönberg—Alban Berg—Webern, ne fait nulle concession â nos habituelles performances auditives. M. Korner, altiste, et le pianiste Michel Elosegui triomphêrent avec unne habilité surprenantc des difficultés de toute nature dont cette oeuvre intéressante est hérissée.’</p></fn><fn id="fn08" symbol="5"><label><sup>5</sup></label><p><citation citation-type="book" id="ref006">‘… des Acquisitions Schocnbcrgiennes’, heading of Chap. X in <source>Sehoniberg el son École</source>, <publisher-loc>Paris</publisher-loc> <year>1947</year>, p. <fpage>212</fpage></citation>.</p></fn><fn id="fn09" symbol="6"><label><sup>6</sup></label><p><citation citation-type="book" id="ref007">Ursula Stürzbecher, <source>Werkstattgespäche mil Komponisten</source>, <publisher-loc>Munich</publisher-loc> <year>1973</year>. p. <fpage>54</fpage></citation>.</p></fn><fn id="fn10" symbol="7"><label><sup>7</sup></label><p>Leibowitz's footnote: ‘I am thinking especially of Stravinsky. Cf. my previously cited article [= ‘Igor Stravinsky ou le choix de la misère musicale’, <italic>Les Temps motlemes</italic>. No. 7]’.</p></fn><fn id="fn11" symbol="8"><label><sup>8</sup></label><p>Schoenberg et son École. pp. 276, 278. [Quoted here in the translation by <citation citation-type="book" id="ref008"><name name-style="western"><surname>Newlin</surname><given-names>Dika</given-names></name>. <source>Schoenberg and His School</source>(<publisher-loc>New York</publisher-loc>: <publisher-name>Philosoplical Library</publisher-name>. <year>1949</year>. hereafter Newlin). pp.<fpage>274</fpage>, 276</citation>. The passage in square brackets restores a phrase elided by the translator.—(Ed.)]</p></fn><fn id="fn12" symbol="9"><label><sup>9</sup></label><p>Op. 13 in the original French; op. 12 in Newlin; performed in Darmstadt as op. 20; op. 12A in Leibowitz's definitive list of works; op. 1213 is a violin version for Rudolf Kolisch.</p></fn><fn id="fn13" symbol="10"><label><sup>10</sup></label><p><italic>loc. cit</italic>. pp. 283, 285 (Newlin pp.281, 282). The ensuing discussions are also of interest with regard to Boulez.</p></fn><fn id="fn14" symbol="11"><label><sup>11</sup></label><p><citation citation-type="book" id="ref009"><name name-style="western"><surname>Boulez</surname><given-names>Pierre</given-names></name>, <source>Par volonté et par hasard: Conversations with Célestin Deliège</source>, trans. <name name-style="western"><surname>Wangermée</surname><given-names>Robert</given-names></name> (<publisher-loc>London</publisher-loc>: <publisher-name>Eulenburg</publisher-name>, <year>1976</year>), p. <fpage>13</fpage></citation>. On the connexion between Leibowitz's Sonata and Boulez's Sonatina nowadays see also<citation citation-type="book" id="ref010"><name name-style="western"><surname>Hirsbrunner</surname><given-names>Theo</given-names></name>, <source>Pierre Boulez undsein Werk</source>, <publisher-loc>Laaber</publisher-loc> <year>1985</year>, p. <fpage>46</fpage></citation>.</p></fn><fn id="fn15" symbol="12"><label><sup>12</sup></label><p>Cf. <citation citation-type="book" id="ref011"><name name-style="western"><surname>Schubert</surname><given-names>Giselher</given-names></name>, <source>Werkidee und Komposilionstechnik. Zur seriellan Musik von Boulez, Stockhausen und Ligeti</source>, in <italic>Die Musik der Flinfziger jahre</italic>, ed. <name name-style="western"><surname>Dahlhaus</surname><given-names>Carl</given-names></name> (<publisher-name>Publications of the Institut fur Neue Musik und Musikerziehung Darmstadt</publisher-name>, Vol. <volume>26</volume>)</citation>.</p></fn><fn id="fn16" symbol="13"><label><sup>13</sup></label><p>No. 2(1948)</p></fn><fn id="fn17" symbol="14"><label><sup>14</sup></label><p>This means, if I interpret it correctly, that rhythm- and interval-defined motifs separate off and are worked out independently of each other.</p></fn><fn id="fn18" symbol="15"><label><sup>15</sup></label><p><citation citation-type="book" id="ref012"><name name-style="western"><surname>Boulcz</surname><given-names>Pierre</given-names></name>, ‘Proposals’, in <source>Notes of an Apprenticeship</source> collected by Paul Thévenin, translated by <name name-style="western"><surname>Weinstock</surname><given-names>Herbert</given-names></name> (<publisher-loc>New York</publisher-loc>: <publisher-name>Alfred A. Knopf</publisher-name>, <year>1968</year>: hereafter <italic>Notes</italic>), pp. <fpage>67</fpage>–8</citation>.</p></fn><fn id="fn19" symbol="16"><label><sup>16</sup></label><p>Later on Boulez would learn to value Berg's contributions to ‘rhythmic explorations’ more justly. In the Deliège Conversation he claims to have known it even then; not yet, on the other hand, the exceptional status of Webern:'… in the Webern pieces I knew at that time, I had not found that type of very dense rhythmic structure—though it does exist in works by Webern that I discovered later… In the first works I got to know—the Symphony op.21 for example—the writing is extremely classical: it consists of canons such as can be found above all in pre-classical or Baroque music. In fact there is not really any very profound rhythmic elaboration in the whole of the modern Viennese school. But another thing that attracted me was what Berg called ‘monorhythmica’—used in certain passages of this music ‘hellip;’ Conversations with Deliégc(cf. Note 11), p. 13.</p></fn><fn id="fn20" symbol="17"><label><sup>17</sup></label><p><italic>Notes</italic>, p. 64.</p></fn><fn id="fn21" symbol="18"><label><sup>18</sup></label><p><xref ref-type="bibr" rid="ref012">ibid.</xref>, pp. 71.</p></fn><fn id="fn22" symbol="19"><label><sup>19</sup></label><p><xref ref-type="bibr" rid="ref012">ibid.</xref>, pp. 64, 70, 71.</p></fn><fn id="fn23" symbol="20"><label><sup>20</sup></label><p><xref ref-type="bibr" rid="ref012">ibid.</xref>, p. 64.</p></fn><fn id="fn24" symbol="21"><label><sup>21</sup></label><p>Trajectories: Ravel, Stravinsky, Schoenberg', in <italic>Notes</italic> p. 242ff.</p></fn><fn id="fn25" symbol="22"><label><sup>22</sup></label><p>Let us simply assume that Boulez has no sense of humour. Or that Boulez's wit was baffled by Leibowitz's theory, which <italic>could not be less</italic> of a platitude (cf. ‘Proposals’ in <italic>Notes</italic>, p. 61.</p></fn><fn id="fn26" symbol="23"><label><sup>23</sup></label><p>Cf. ‘If, in fact, I want to go further with my inquiry into Schocnberg's language, I shall necessarily recognize that the adoption of the dodecaphonic writing style—I insist on the word style and what it may represent, in this case, of incompleteness—did not change the basic principles of the tonal language. I refer to ideas of melody, harmony, and counterpoint envisaged as separate functions, ideas valid in the language of the 18th and 19th centuries, although the superiority of Bach, for example, or of the late Beethoven, resides precisely in the intimate unification of these three aspects of the tonal system’. <italic>Notes</italic>, p. 256.</p></fn><fn id="fn27" symbol="24"><label><sup>24</sup></label><p><italic>Notes</italic>, p. 258.</p></fn><fn id="fn28" symbol="25"><label><sup>25</sup></label><p>Quoted from <italic>Musik-Konzepte 22, Béta Bartók</italic>, p. 19f.</p></fn><fn id="fn29" symbol="26"><label><sup>26</sup></label><p>‘Someone now might ask me how I choose the rhythms—and that is a question to which no verbal reply is possible; it is one that can be answered only by the music that one writes …’ (‘Proposals’, in <italic>Notes</italic>, p. 70).</p></fn><fn id="fn30" symbol="27"><label><sup>27</sup></label><p><citation citation-type="journal" id="ref013"><source>Melos</source> <volume>17</volume> (<year>1950</year>), p. <fpage>361</fpage></citation>.</p></fn><fn id="fn31" symbol="28"><label><sup>28</sup></label><p><citation citation-type="book" id="ref014"><name name-style="western"><surname>Rufer</surname><given-names>Josef</given-names></name>, <source>Die Komposition mit zwöf Tönen</source>, <publisher-loc>Berlin and Wunsiedel</publisher-loc> <year>1952</year>, p. <fpage>161</fpage> f</citation>. The appendix is only found in the first edition. Incidentally, Rufer also discovers in Schoenberg a sort of ‘isorhythmic procedure’: p. 109, 122, 146 f.</p></fn><fn id="fn32" symbol="29"><label><sup>29</sup></label><p><citation citation-type="journal" id="ref015"><source>Journal of the American Musicohgical Society</source> <volume>3</volume> (<year>1950</year>) No. <issue>165</issue><fpage>59</fpage></citation>. Cf. also in the same number the abstract of a paper read by R. H. Hoppin: ‘Rhythm as a Structural Device in the Motet Around 1400’.</p></fn><fn id="fn33" symbol="30"><label><sup>30</sup></label><p>The temporary alliance between Boulez and Cage could be seen as confirmation.</p></fn><fn id="fn34" symbol="31"><label><sup>31</sup></label><p>‘Stravinsky Remains’ in <italic>Notes</italic>, p. 143. (For the first passage cited we have preferred a translation by Inge Goodwin to Weinstock's freer version—Eds.)</p></fn><fn id="fn35" symbol="32"><label><sup>32</sup></label><p>‘A time for Johann Sebastian Bach’ in <italic>Notes</italic>, p. 11 (Weinstock in fact translates ‘dissolution’ as ‘suspension’—Eds.)</p></fn><fn id="fn36" symbol="33"><label><sup>33</sup></label><p>‘Stravinsky Remains’ <italic>Notes</italic>, p. 143.</p></fn><fn id="fn37" symbol="34"><label><sup>34</sup></label><p><xref ref-type="bibr" rid="ref015">ibid.</xref>, p. 143–5 (with Editorial revisions.)</p></fn><fn id="fn38" symbol="35"><label><sup>35</sup></label><p><italic>Notes</italic>, p. 72. Rudolf Stephan had already pointed out this connexion early on.</p></fn><fn id="fn39" symbol="36"><label><sup>36</sup></label><p>One need only go through the early post-war years of <italic>Melos</italic>, in those days dedicated to neo-classicism: hardly one author omits this cliché.</p></fn><fn id="fn40" symbol="37"><label><sup>37</sup></label><p>It is interesting also to note the conversion of Heinrich Strobcl, a former fierce opponent of Schoenberg, to the patron of the serial movement.</p></fn><fn id="fn41" symbol="38"><label><sup>38</sup></label><p>Cf. <citation citation-type="book" id="ref016"><name name-style="western"><surname>Weber</surname><given-names>Horst</given-names></name>, <source>Dallapiccola – Madema – Nono: Tradition among the Italian Modernists</source>, in: <name name-style="western"><surname>Stephan</surname><given-names>Rudolf</given-names></name> and <name name-style="western"><surname>Wiesman</surname><given-names>Sigrid</given-names></name> (Ed.), Report on the 2. Congress of the <italic>Internationale Schönberg-Cesellschaft</italic>, <publisher-loc>Vienna</publisher-loc>, <year>1986</year>, p. <fpage>97</fpage></citation>.</p></fn><fn id="fn42" symbol="39"><label><sup>39</sup></label><p>This reminds one a little of that retrospective anti-Fascism so often mentioned and discussed by Klaus Heinrich, which with the demolition of the 19th century facades expected to strike at the root of all evil.</p></fn><fn id="fn43" symbol="40"><label><sup>40</sup></label><p>[‘ultra-conscquente’], if I understand the word correctly which Pierre-Michel Menger, in <italic>Le Paradoxe du Musicim: Le compositeur, le mélomane et l'État dans la sociéte conteinporaine</italic> (Flammarion), 1983, p.59, quotes without substantiation and clearly also out of context.</p></fn><fn id="fn44" symbol="41"><label><sup>41</sup></label><p>The invitation reached Leibowitz too late.</p></fn><fn id="fn45" symbol="42"><label><sup>42</sup></label><p>Despite Heinz-Klaus Metzger's responsive ‘Addendum in motu contrario’ (cf. <italic>Miuik-Konzepte</italic>, monograph on <italic>Anton Weherti</italic>, pp. 2O7ff), which refers to expressive requirements being the motive for the utmost differentiation in serial music—to which I would merely add ‘It would be nice if it were so’; and despite certain ideas about realization, composing-out and rationalization of the Espressivo, which Scherchen and Kolisch also got hold of—the Darmstadt music had expressive requirements, of course, but no Espressivo.</p></fn><fn id="fn46" symbol="43"><label><sup>43</sup></label><p><citation citation-type="book" id="ref017"><source>Qu'est-ce que la Mmique de douze Sons? Le Concerto pour neuf Instruments Op. 24 d’ Anton Webem</source>, <publisher-loc>Liege</publisher-loc> <year>1948</year>, p. <fpage>61</fpage></citation>.</p></fn><fn id="fn47" symbol="44"><label><sup>44</sup></label><p>I am indebted to Rudolf Stephan for my knowledge of this document.</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Shades of the Double's Original: René Leibowitz's dispute with Boulez</title></titleInfo><titleInfo type="alternative"><title>TEMPO</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Shades of the Double's Original*: René Leibowitz's dispute with Boulez</title></titleInfo><name type="personal"><namePart type="given">Reinhard</namePart><namePart type="family">Kapp</namePart><role><roleTerm type="text">author</roleTerm></role><description>Reinhard Kapp (b. 1947) studied musicology in Berlin with Rudolf Stephan. At present he is working as an editor at the Richard-Wagner-Gesamtausgabe in Munich.</description></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1988-06</dateIssued><copyrightDate encoding="w3cdtf">1988</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract" lang="en">LEIBOWITZ IS DEAD, but the hostility smoulders on, and one wonders what, beyond personal involvement, lay behind it. Boulez, too, has long been relegated to the unending line of historical cases—as can be seen from the ‘dated’ impression made by the second volume of Musikdenken heute. It seems difficult to revert to an earlier stage of musical theory, let alone one even earlier than that, without invoking purely ‘historical interest’. But the pre-history of the serial movement, which has left its traces on everyone's consciousness, could explain both its signal success and its ignominious failure. Its collapse has been total; the ostensible reasons for the abandonment of the movement were no less threadbare than for its inception. Leibowitz, the ‘classic dodecaphonist’, left some theoretical loopholes, but one can hardly make him the scapegoat for errors lying outside his responsibility. Even in retrospect, his mowing down by ‘progress’ cannot be justified; but it is not merely an act of reparation if one still, or once more, gives him serious consideration.</abstract><relatedItem type="host"><titleInfo><title>Tempo</title></titleInfo><titleInfo type="abbreviated"><title>Tempo</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0040-2982</identifier><identifier type="eISSN">1478-2286</identifier><identifier type="PublisherID">TEM</identifier><part><date>1988</date><detail type="volume"><caption>vol.</caption><number>2</number></detail><detail type="issue"><caption>no.</caption><number>165</number></detail><extent unit="pages"><start>2</start><end>16</end><total>15</total></extent></part></relatedItem><identifier type="istex">3C58AC6D03DCCB89BEE4923A0644E028C2FFA572</identifier><identifier type="ark">ark:/67375/6GQ-7CCS09SH-N</identifier><identifier type="DOI">10.1017/S0040298200024050</identifier><identifier type="PII">S0040298200024050</identifier><identifier type="ArticleID">02405</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © Cambridge University Press 1988</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © Cambridge University Press 1988</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/3C58AC6D03DCCB89BEE4923A0644E028C2FFA572/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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