Future music

from Wikipedia, the free encyclopedia

The term music of the future was initially a derision for Richard Wagner's music . In his work Das Judenthum in der Musik (1869), Wagner assumes that the Cologne music magazine publisher and critic Ludwig Bischoff (1794–1867) coined the term and alludes to Wagner's work The Work of Art of the Future (1850): “Professor Bischoff [entered] in the Kölnische Zeitung with the justification of the system of defamation followed against me from now on: this stuck to my art writings and twisted my idea of ​​a 'work of art of the future' into the ridiculous tendency of a 'future music', namely one, which, even if it sounds bad now, would look good over time. "

The Wagner biographer Martin Gregor-Dellin comments: “That is not entirely true. Ludwig Bischoff did not use the term until 1859 in No. 1 of the Niederrheinische Musikzeitung. The term 'music of the future' was already widespread in 1847, when Chopin, Liszt and Berlioz in particular were considered future musicians. The word ' music of the future' then demonstrably appears for the first time in a letter from Louis Spohr dated November 26, 1854, and the ' Signals for the musical world ' wrote in 1856 in a report on Liszt's Berlin concert: If one wanted to say with one word What the essence of this music of the future actually consists of ... 'The old bishop only had to serve as a whipping boy. Nobody else contributed more to the spread of the term than Richard Wagner himself through his reply 'music of the future' ”.

Even before Bischoff, Friedrich Wieck used not only various combinations of the terms music and future, but also the expression "future music" and "future musician" in some of the original chapters of his collection of essays Clavier und Gesang (1853: Chapters 7, 12 and 13), but not in the previously published articles elsewhere. The meaning corresponds exactly to the somewhat later, much noticed uses of the word. One of the editors of the Wieck-Schriften, Tomi Mäkelä, treats the conceptual history with a view to this previously disregarded source in the introductory essay. Detlef Altenburg and Frieder Reininghaus ascribe the term to Richard Wagner critic August Ferdinand Riccius , who used it in an (anonymous) review of Wieck's book in the Rheinische Musik-Zeitung on December 4, 1852 (see Wikisource ); so the book was already there.

Wagner's brochure Zukunftsmusik , written in 1860, was published by JJ Weber in Leipzig in 1861, as an open letter to a French friend [Frédéric Villot] as a foreword to a prose translation of my opera poems . He took up the term again in a positive sense by explaining and justifying his own path after a brief history of the opera. In this context he coined the term infinite melody .

Georg Büchmann contributed to the false notion History at by his widely read collection of quotations winged words kolportierte: "In, Lower Rhine Music newspaper from 1859, No. 41 its editor at the time, Prof. Ludwig Bischoff, wrote: 'All' the disgrace, the dizziness, all the 'vanity, all the' self-reflection, all the 'indolence of pushing towards the future what one would have to do oneself, all the hollowness and The aesthetic gossip about it - how beautifully it all sums up in the one word 'music of the future'. "Büchmann continues:" By the way, the idea is not entirely Wagner's property. Already in Rob. Schumann's 'Gesammelte Schriften' (Vol. I, p. 46) can be found under Florestan's records with the remark from 1833: 'A magazine for future music is still missing'! and Karl Gaillard, editor of the 'Berliner Musical Zeitung', says No. 24, born in 1847: 'If Mr Berlioz creates his own orchestra, he can conduct as much as he likes and drive his musical hocus-pocus, called' the new music 'or' the music of the future ',' (cf. . the thorough discussion of Wilh. Tappert in his 'Wagner-Lexikon', Lpz. 1877, p. 45.) "

Other meanings

  • In the parlance of the 20th century, the term music of the future is mainly used in a figurative sense for projects whose realization is still a long way off, in the future .
  • In physical experiments with the tunnel effect , a (mathematical) faster than light speed was determined. Music was broadcast through the tunnel as a demonstration. This happened at faster than light speed - and the result was a dream of the future (that's how it was jokingly called by the head physicist Hans-Peter Dürr ).
  • An initiative for new music in Augsburg is called Zukunft (s) Musik.

swell

  1. ↑ Judaism in Music. 1869, p. 36. ( wikisource ).
  2. ↑ Martin Gregor-Dellin: Richard Wagner - His life - His work - His century. Munich 1980, p. 876.
  3. ↑ Tomi Mäkelä , Christoph Kammertöns and Lena Esther Ptasczynski (eds.): Friedrich Wieck - Collected writings on music and musicians . Peter Lang, Frankfurt am Main 2019, ISBN 978-3-631-76745-0 , p. 38 f., 233, 276, 289 passim .
  4. ↑ "We owe the living consideration, the dead only the truth." In: Tomi Mäkelä, Christoph Kammertöns and Lena Esther Ptasczynski (eds.): Friedrich Wieck - Collected writings . Peter Lang, Frankfurt am Main 2019, p. 15-49, especially 38 f .
  5. ^ Detlef Altenburg: Future music . In: Ralf Noltensmeier (Ed.): Metzler Sachlexikon Musik . JB Metzler, Stuttgart and Weimar 1998, p. 1167 .
  6. ↑ Frieder Reininghaus: Last but not least: music of the future . In: Austrian music magazine . tape 66 , no. 5 . Vienna May 1, 2011, p. 119 .
  7. ^ Anonymus (AF Riccius?): Leipziger Briefe. III. In: Ludwig Bischoff (Hrsg.): Rheinische Musik-Zeitung . No. 23 . Cologne December 4, 1852, p. 1010-1014 .
  8. ↑ ludwig-feuerbach.de
  9. ↑ Georg Büchmann : Winged words . 19th edition, 1898. Quoted from: susning.nu
  10. ↑ Zukunft-musik.de Zukunft-musik.de