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2. A comparison between Paris and the Second Viennese School
Pierre Henry, Jacques Ibert, Noël Lee, Michel Legrand, Igor Markevitch, Gian Carlo Menotti, Krzysztof Meyer, Darius Milhaud, Per Nørgård, Astor Piazzolla, Walter Piston, Roger Sessions, and Virgil Thomson.
2. A COMPARISON BETWEEN PARIS AND THE SECOND VIENNESE SCHOOL
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Paris
Second Viennese School
Cosmopolitanism47, liberalism Identity48, nationalism Occultism, Orientalism49 as a form of amusement Hegel, Weltgeist Anti-Romanticism as reaction to Mahler and Wagner Worship of Mahler and Wagner, expressionism Hypes: Atavism, Barbarism, Futurism50 The logical line of tradition Period style quotations51 Also, but only as a structural departure Music for every day (Cocteau) This is the enemy, bad taste Music hall aesthetic This is the enemy, bad taste Utility music52 This is the enemy, bad taste Flirt with Folk music High/low culture Influence of film: montage technique Development and variation Good taste/ entertaining Quality rules/ reach for the highest form of art
47 Cosmopolitanism: the ideology that all human beings belong to a single community, based on a shared morality and mutual respect. 48 A lot can be said about the opposites Cosmopolitism vs. Identity. Today we find this in the political clichés about the EU-loving ‘Elite’ with its liberal world order versus the identity politics or, for example, ‘America First’. 49 Orientalism is the imitation or depiction of aspects in the Eastern world through the eyes of Western artists and thinkers. Like in Atavism and Barbarism, these
Oriental imitations and depictions were mostly exotic and erotic Western projections on these worlds, sources of inspiration and rarely fact-checked. 50 Atavism: the re-emergence of characteristics or abilities that existed before but had disappeared.
Barbarism: the glorifying of primitive cultures, which supposedly had a strength, courage, directness or vitality that we no longer possess.
Futurism: a direct desirable, male vitality. Glorifying the machine, speed, the automobile, war; antidemocratic (as a reaction to the faltering democracies of
Italy and the Weimar Republic) and therefore susceptible to fascist sympathies. 51 Cultivation of pre-Romantic styles. 52 Utility music: music that is produced to serve a social occasion like a dance evening or the need of a pleasant background.
