Viennese ‘Moderne’ and its Spatial Planes, Sounded
EARTH
ABOUT THIS PUBLICATION
The opening of Gustav Mahler’s “Der Abschied” from Das Lied von der Erde demonstrates a remarkable set of musical conditions that include spare textures, a wide disposition of instrumental forces, and the effect of temporal suspension. Through this passage Mahler highlights voices that work in synthesis with those that are juxtaposed. In the first half of the study, I explore how his music is defined spatially through this process. The second half explores the ways that Mahler’s construction of musical space is historically marked and contemporary to the visual tensions in the landscape paintings of Gustav Klimt and Egon Schiele. In both musical and visual context, these tensions reflect shared artistic goals of the Viennese ‘Moderne.’
RELATED PRESENTATIONS
“Viennese ‘Moderne’ and its Spatial Planes, Sounded”
Southeast Chapter of the American Musicological Society
Newport News, Virginia; September 2009
“Gustav Mahler’s Landscapes: Constructions of Space in Music and the Visual Arts in Fin-de-Siècle Vienna”
German Studies Association, Twenty-Ninth Annual Conference
Milwaukee, Wisconsin; September 2005
CITATION
Dolp, Laura. “Viennese ‘Moderne’ and Its Spatial Planes, Sounded.” 19th Century Music 33, no. 3 (2010): 247-69. doi:10.1525/ncm.2010.33.3.247.
