By David Brodbeck
Defining Deutschtum: Political Ideology, German id, and Music-Critical Discourse in Liberal Vienna offers a nuanced examine the intersection of song, cultural identification, and political ideology in late-nineteenth-century Vienna. Drawing on an intensive choice of writings within the city's political press, correspondence, archival records, and a wide physique of contemporary scholarship in overdue Habsburg cultural and political historical past, writer David Brodbeck argues that Vienna's tune critics have been very important brokers within the public sphere whose writings gave voice to unique, occasionally competing ideological positions. those conflicting positions are exemplified in particular good of their severe writings concerning the song of 3 extraordinary composers of the day who have been Austrian electorate yet now not ethnic Germans: Carl Goldmark, a Jew from German West Hungary, and the Czechs Bed?ich Smetana and Antonín Dvo?ák.
Often at stake within the serious discourse was once the query of who and what will be deemed "German" within the multinational Austrian kingdom. For critics similar to Eduard Hanslick and Ludwig Speidel, conventional German liberals who got here of age within the years round 1848, "Germanness" was once an characteristic which may be earned via any bold bourgeois-including Jews and people of non-German nationality-by embracing German cultural values. The extra nationally inflected liberalism glaring within the writings of Theodor Helm, with its particularist rhetoric of German nationwide estate in a time of Czech profits at German fee, used to be usual of these within the subsequent new release, informed throughout the 1860s. the unconventional pupil politics of the Eighteen Eighties, with its embody of racialist antisemitism and irredentist German nationalism, simply as definitely formed the discourse of definite younger Wagnerian critics who emerged on the finish of the century. This physique of music-critical writing unearths a continuum of exclusivity, from a notion of Germanness rooted in social type and cultural elitism to 1 established in blood.
Brodbeck smartly counters many years of musicological scholarship and provides a distinct perception into the various ways that knowledgeable German Austrians conceived of Germanness in tune and understood their courting to their non-German fellow electorate. Defining Deutschtum is bound to be an important textual content for students of tune historical past, cultural stories, and overdue nineteenth century vital eu tradition and society.
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Additional info for Defining Deutschtum: Political Ideology, German Identity, and Music-Critical Discourse in Liberal Vienna
Prochaska, 1884), 1: 54– 55. See also Hugh LeCaine Agnew, “Czechs, Germans, Bohemians? , Creating the Other, 60–61; and Kieval, “The Social Vision of Bohemian Jews,” 252–54. ” 60. Sabina, one of the writers whose work appeared most frequently in Ost und West, eventually identified as a Czech and is best known to musicians as the librettist of Smetana’s first two operas. 16 Robin Okey, The Habsburg Monarchy c. 1765–1918: From Enlightenment to Eclipse (New York: Palgrave Macmillan, 2001), 112; Springer is quoted there from his autobiography, Aus meinem Leben (Berlin: G.
In response to these setbacks, younger German bourgeois activists increasingly adopted a particularist project of German nationalism, involving a decided defense of Nationalbesitzstand (national property). 29 This not only exacerbated tensions between Germans and Slavs in areas of the monarchy in which both nationalities were represented in significant numbers but also fed the rise of racialist antisemitism. Schorske posited in his influential Fin-de-siècle Vienna), but rather its most complete and logical manifestation.
Although the Fremden-Blatt, the official organ of the Ministry of Foreign Affairs, did not feature arts coverage to the same degree as the political dailies, its music critic was a force to be reckoned with, as we shall see. , University of Vienna, 1949). 43 Leon Botstein, “The Consequences of History and Criticism,” Musical Quarterly 94 (2011): 1–8; idem, “Music in History: The Perils of Method in Reception History,” Musical Quarterly 89 (2007): 1–10; and idem, “Music and Its Public,” 863–88. ” 44 Anticlericalism, by contrast, though it was a key element in liberal ideology, is less directly connected to the question of Germanness in music and in any case is rarely 16 | i n t r o d u c t i o n deutschliberal ideology, here understood as being largely synonymous with German liberal nationalism.