Skandalkonzert vindicated?

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Drawing from the magazine Zeit, volume 6, April 1913. (srf.ch)

A post on the website Artlark, “Skandalkonzert: The Battle for Modernism,” describes a riot that had classical concertgoers in Vienna battling amongst themselves in the pits and with the musicians and the even the composers. Pieces by Schonberg, Weber and Mahler were featured, and Schoenberg himself conducted. Fisticuffs ensued. Punches were thrown.

After a lengthy description of the riot, its causes and its influence were assessed by the anonymous Artlark writer. Here is the summary passage:

All these accounts construct a picture of the continuous battles existing between Viennese society and its artistic circles. However, apart from inherent exaggerations, they also depict the vastness of the void between nineteenth-century mentality and the shocking, incomprehensive, modernist rhetoric at the beginning of the twentieth century. Even such artistically and literary inclined minds as Altenberg found it difficult to adjust to modernism in music. He said: “I understand nothing of this latest ‘modern music’, my brain-soul still hears, feels, understands only Richard Wagner, Hugo Wolf, Brahms, Dvořák, Grieg, Puccini, Richard Strauss!” (Pople). But no matter how lengthy the process of cultural and mental adjustment was, and how much ‘blood was shed’ during the process, the positive aspect of it is that the much criticised avant garde were eventually vindicated.

I beg to disagree. Modernism in music – no more than modernism in architecture – has never been “vindicated.” Rather, the “establishment” of western civilization lost its nerve and modernists were able to capture the summits of authority in such fields as art and architecture, where they have not yet been dislodged in spite of the harshness that has overtaken both fields. The result has been tragic, with so much beauty removed from the quality of life worldwide and replaced by bogus intellectualizing.

The proof, one might surmise, is that such a riot is unimaginable today. The Viennese treated art as a serious subject. Today, art and architecture have so blighted the landscape of the mind and the streetscape of the environment that few pay that much attention to the latest developments in conventional art or building. By conventional I mean art and building that is designed to “épater la bourgeoisie,” not traditional art or architecture, which people still prefer, when they can get it. Fortunately, in art and architecture (more the former than the latter) a reaction against experimenting on the sensibilities of the public has led to a revival of tradition. May that trend continue!

About David Brussat

For a living, I edit the writing of some of the nation's leading architects, urbanists and design theorists. This blog was begun in 2009 as a feature of the Providence Journal, where I was on the editorial board and wrote a weekly column of architecture criticism for three decades. Architecture Here and There fights the style wars for classical architecture and against modern architecture, no holds barred. My freelance writing and editing on that topic and others addresses issues of design and culture locally and globally. I am a fellow of the Royal Society of the Arts, and a member of the board of the New England chapter of the Institute of Classical Architecture & Art, which bestowed an Arthur Ross Award on me in 2002. I work from Providence, R.I., where I live with my wife Victoria, my son Billy and our cat Gato. If you would like to invest your prose with even more style and clarity, please email me at my consultancy, dbrussat@gmail.com, or call 401.351.0457. Testimonial: "Your work is so wonderful - you now enter my mind and write what I would have written." - Nikos Salingaros, mathematician at the University of Texas, architectural theorist and author of many books.
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One Response to Skandalkonzert vindicated?

  1. Raymond Finelli says:

    “bogus intellectualizing” I love it. I love it. You couldn’t have exopressed total disdain any better.

    Like

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