User talk:2001:4455:1F3:BA00:3D7F:FA56:9AD9:BD53

The term expressionism "was probably first applied to music in 1918, especially to Schoenberg", because like the painter Wassily Kandinsky (1866–1944) he avoided "traditional forms of beauty" to convey powerful feelings in his music.[1] Theodor Adorno interprets the expressionist movement in music as seeking to "eliminate all of traditional music's conventional elements, everything formulaically rigid". This he sees as analogous "to the literary ideal of the 'scream' ". As well Adorno sees expressionist music as seeking "the truthfulness of subjective feeling without illusions, disguises or euphemisms". Adorno also describes it as concerned with the unconscious, and states that "the depiction of fear lies at the centre" of expressionist music, with dissonance predominating, so that the "harmonious, affirmative element of art is banished".[2] Expressionist music would "thus reject the depictive, sensual qualities that had come to be associated with impressionist music. It would endeavor instead to realize its own purely musical nature—in part by disregarding compositional conventions that placed 'outer' restrictions on the expression of 'inner' visions".[3]

Arnold Schoenberg, the key figure in the Expressionist movement. Expressionist music often features a high level of dissonance, extreme contrasts of dynamics, constant changing of textures, "distorted" melodies and harmonies, and angular melodies with wide leaps.[4]

Major figures Edit The three central figures of musical expressionism are Arnold Schoenberg (1874–1951) and his pupils, Anton Webern (1883–1945) and Alban Berg (1885–1935), the so-called Second Viennese School. Other composers that have been associated with expressionism are Ernst Krenek (1900–1991) (the Second Symphony, 1922), Paul Hindemith (1895–1963) (Die junge Magd, Op. 23b, 1922, setting six poems of Georg Trakl), Igor Stravinsky (1882–1971) (Three Japanese Lyrics, 1913), Alexander Scriabin (1872–1915) (late piano sonatas).[5] Another significant expressionist was Béla Bartók (1881–1945) in early works, written in the second decade of the 20th century, such as Bluebeard's Castle (1911),[6] The Wooden Prince (1917),[7] and The Miraculous Mandarin (1919).[8] American composers with a sympathetic "urge for such intensification of expression" who were active in the same period as Schoenberg's expressionist free atonal compositions (between 1908 and 1921) include Carl Ruggles, Dane Rudhyar, and, "to a certain extent", Charles Ives, whose song "Walt Whitman" is a particularly clear example.[9] Important precursors of expressionism are Richard Wagner (1813–1883), Gustav Mahler (1860–1911), and Richard Strauss (1864–1949).[10]Mitchell 2005, 334 Later composers, such as Peter Maxwell Davies (1934–2016), "have sometimes been seen as perpetuating the Expressionism of Schoenberg, Berg, and Webern",[11] and Heinz Holliger's (b. 1939) most distinctive trait "is an intensely engaged evocation of ... the essentially lyric expressionism found in Schoenberg, Berg and, especially, Webern"