Tools

LEADER 05021cam 2200397 a 4500

001 ocm56014483;

003 OCoLC;

005 20141211194456.0;

008 040723s2004 gw g b 001 0 eng c;

020 a| 3873205955 (pbk.);

020 a| 9783873205956 (pbk.);

035 a| (Sirsi) o56014483;

035 a| (OCoLC)56014483;

042 a| pcc;

049 a| EREM;

050 4 a| ML410.R25b| B58 2004;

100 1 a| Bittmann, Antonius.=| ^A1218099;

245 10 a| Max Reger and historicist modernisms /c| Antonius Bittmann.;

260 a| Baden-Baden :b| Koerner,c| 2004.;

300 a| xiv, 316 pages :b| music ;c| 23 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Collection d'études musicologiques =a| Sammlung musikwissenschaftlicher Abhandlungen ;v| v. 95;

500 a| Revision of the author's thesis (Ph. D.)--University of Rochester, 2000.;

504 a| Includes bibliographical references (pages 291-310) and index.;

520 a| The first comprehensive English-language account of Reger's oeuvre, Antonius Bittmann emphatically revises misconceptions about Reger's music which has often been stigmatized because of its indebtedness to earlier composers, especially Brahms. As Bittmann argues, Reger does not turn to historical models in order to preserve or reconstitute antiquated musical languages; rather, viewing himself as a horseman "riding steadfastly to the left," Reger appropriates the musical past for the most modern ends. Reflecting upon conflicting notions of musical progress, the Phantasie und Fuge über den Namen B-A-C-H, Op. 46, relies on revered traditions to restore cultural health, whereas his Fourth Violin Sonata, Op. 72, adulterates its compositional models with epithets. Reger's desire to escape the shadow of his great predecessors is evident in works that manifest an aesthetic and intellectual current that probe the psychological underpinnings of creation and reception of art, leading him to eschew history altogether. Taking a strong interest in reception history, Bittmann reassesses Reger's work by drawing on a wide array of interdisciplinary sources in literary criticism, philosophy, and cultural history.;

600 10 a| Reger, Max,d| 1873-1916x| Criticism and interpretation.=| ^A47805;

650 0 a| Musicy| 20th centuryx| History and criticism.=| ^A147357;

830 0 a| Sammlung musikwissenschaftlicher Abhandlungen (Valentin Koerner GmbH)v| Bd. 95.=| ^A1196324;

994 a| C0b| ERE;

596 a| 3;

998 a| 1081323;

999 a| ML410.R25 B58 2004w| LCc| 1i| 30372014057167d| 1/16/2024e| 10/30/2023f| 3/12/2024g| 5l| MSTm| JMUSICn| 7p| $76.00r| Ys| Yt| MGESBKu| 5/24/2007x| BOOKz| MCIRCo| .STAFF. enhanced 4/11/22 -jjab;

Max Reger and historicist modernisms / Antonius Bittmann.

Author/creator	Bittmann, Antonius
Format	Book
Publication Info	Baden-Baden : Koerner, 2004.
Description	xiv, 316 pages : music ; 23 cm.
Subjects	Reger, Max, 1873-1916--Criticism and interpretation. Music--20th century. --History and criticism.

Series	Collection d'études musicologiques = Sammlung musikwissenschaftlicher Abhandlungen ; v. 95 Sammlung musikwissenschaftlicher Abhandlungen (Valentin Koerner GmbH) Bd. 95. ^A1196324
Contents	Introduction. Discovering history ; "Riding steadfastly to the left": Max Reger, the historicist modernist -- Part I: A modernist's search for his own language. At the graveside of Johannes Brahms. "A poor man's Brahms" ; Brahms and Reger's early works -- Early impressions and shifting idols. Wagner: spiritual guide and career catalyst ; First compositional efforts ; "Thou shalt have no other gods before me" ; Breaking loose -- Part II: To restore, or to kill the past? Progress through restoration: Reger's Phantasie und Fuge über den Namen B-A-C-H, op. 46. Reger and Bach ; Fin de siècle images of Bach ; Reger's Phantasie und Fugue über den Namen B-A-C-H: genre context ; Reger and Liszt: the fantasy ; Reger, Liszt, and others: the fugue ; Wagner and Strauss ; Healing at last? ; Conclusion -- Perverse modernism: Reger's Fourth Violin Sonata, op. 72. Reger vs. the New Germans ; Reger's Fourth Violin Sonata, op. 72: the problem of its dedication ; Reger's op. 72 and Brahms ; "Ante criticos et Philistros": Reger's "Heldenleben" ; Conclusion -- Part III: Flight inward. Reger and Fin de siècle nervousness. An etiology of the "problem" ; Reger's Wiesbaden crisis ; Reger the neurasthenic -- Psychomorphic modernism, Wagner, and Reger. Romanticist organicism ; Psychomorphic modernism ; Intellectual background and critical underpinnings ; Wagner's subtle transitions ; The art of transitions as applied by Reger ; Conclusion -- Part IV: From Geschichtsverlust to Gesichtsverlust: Reger the avant-gardist. Composing ad infinitum. Reger's op. 143, no. 12: epigonal copy of what? ; The problem of the "final" version: Reger's recompositions ; "Fiat veritas pereat vita": Nietzsche and the crisis of historicism ; "The work of art in the age of its technological reproducibility" ; Reger's recompositions reconsidered ; Appendix -- Carnivalesque modernism and Reger's Ballettsuite, op. 130. Tracing Krug's critical antecedents: the mask ; Carnival and carnivalesque modernism ; Reger's Ballettsuite: genesis and overall form ; French baroque and Debussy ; Crowning the king of carnival: Wagner ; Let's dance! Johann Strauss the younger ; Brahms ; Conclusion.
Abstract	The first comprehensive English-language account of Reger's oeuvre, Antonius Bittmann emphatically revises misconceptions about Reger's music which has often been stigmatized because of its indebtedness to earlier composers, especially Brahms. As Bittmann argues, Reger does not turn to historical models in order to preserve or reconstitute antiquated musical languages; rather, viewing himself as a horseman "riding steadfastly to the left," Reger appropriates the musical past for the most modern ends. Reflecting upon conflicting notions of musical progress, the Phantasie und Fuge über den Namen B-A-C-H, Op. 46, relies on revered traditions to restore cultural health, whereas his Fourth Violin Sonata, Op. 72, adulterates its compositional models with epithets. Reger's desire to escape the shadow of his great predecessors is evident in works that manifest an aesthetic and intellectual current that probe the psychological underpinnings of creation and reception of art, leading him to eschew history altogether. Taking a strong interest in reception history, Bittmann reassesses Reger's work by drawing on a wide array of interdisciplinary sources in literary criticism, philosophy, and cultural history.
General note	Revision of the author's thesis (Ph. D.)--University of Rochester, 2000.
Bibliography note	Includes bibliographical references (pages 291-310) and index.
ISBN	3873205955 (pbk.)
ISBN	9783873205956 (pbk.)

Max Reger and historicist modernisms / Antonius Bittmann.

Click here for more information about this title