Schönberg did not want to be Mozart. Schönberg wanted, first and foremost, to push intellectual barriers with his serial music. Mozart was appealing to emotion in the most direct form, freed from intellectualism, yet deeply intellectual. The master transcending his craft!
Schönberg’s music was and is ‘unangepasst’, edgy as we say nowadays. With Schönberg there was a willed ‘unangepasstheit’, shared by Stockhausen and Boulez, which in a round-about fashion almost makes the music angepasst. Schönberg wanted to take music down the path of intellectualism, and it has stayed on that path. The path became the destination. For most unangepasste human beings the state is undesired. There is a strong wish to become accepted, and for the work resulting from the unangepasste to become mainstreamed. Tchaikovsky’s Violin Concerto, of such beauty and romance, was famously derided as something ‘whose stink one can hear’ when it came out. Hard to believe as it is, perhaps Tchaikovsky was pushing boundaries, yet very soon the Violin Concerto was ubiquitous, mainstreamed. This was surely what Tchaikovsky wanted. Van Gogh, impossibly edgy in life, is now the favourite of billionaires (and me). Continue reading “Atonality”