Inaug.-diss.--Bonn. / Deals mainly with Schnabel's Die insel Felsenburg. Includes bibliographical references.

Inaug.-diss.--Bonn. / Deals mainly with Schnabel's Die insel Felsenburg. Bibliographical foot-notes.

Texte remanié de: Diss.--Philosophische Fakultät für Geschichts-und Kunstwissenschaften--Munich, 1995. / Bibliogr. p.794-826.Index.

Marburg, Phil. Diss. v. 21 Okt. 1912, Ref. Elster.

Marburg, Phil. Diss. v. 21 Okt. 1912, Ref. Elster.

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Erich W. Korngold's Second Sonata, op. 2 (1910), and Artur Schnabel's Piano Sonata (1923) are composed in completely different styles. Korngold's late-Romantic sonata has lush, poignant harmonies, while Schnabel's five-movement work is atonal with twelve-tone elements and unabashedly harsh. However, the two pieces share Expressionistic attributes like extreme contrasts, leitmotifs, and manic-depressive tendencies. Korngold's sonata has a façade of glory and splendor that conceals darker proceedings. This façade breaks down in the later movements. Schnabel's sonata, like his personality, is frank and unapologetic. Each movement has a unique agenda; the five movements as a whole have few musical elements in common among them. Despite these divergent effects, the sonatas are united by the personal link between the composers, namely, Schnabel's decision to widely perform Korngold's sonata. Schnabel, more famous for performing than for composing, was inordinately choosy regarding the composers whose music he performed. Schnabel "only [performed] music that is better than it can be played," and he was especially disdainful of modern music. Given these preferences, Schnabel's championing the young Korngold's unproven work is extraordinary. Forty years later, Schnabel described it as a "most amazing piece." Perhaps this fascination is the result of their common perspective toward Vienna. The present essay will interpret these two works using fin de siècle Vienna as a framework, especially typifying "the atmosphere of Vienna, of jesting defeatism and precious, playful morbidity in the [1890s], of her gradual decay." Accounts by Schnabel, author Stefan Zweig, and others describe the Viennese as "incorrigible optimists" fascinated by music and theatre but uninterested in world affairs. Korngold composed his sonata during the foreboding years preceding World War I, profiling the indifference to societal and political ills. Schnabel composed his sonata after the war, when the "Golden Age of Security," as Zweig phrased it, was corroded by Vienna's opulence and decadence. Accordingly, this essay will elucidate one possible interpretation for each of these pieces, movement by movement, with this dichotomy in mind. The interpretations will vividly illustrate the pretentious depravity and decadence from raucous revelry, as well as the profound pain and dire consequences that follow. Korngold's sonata is as a painting of realism, and his piece uses rich harmonies and soaring melodies to plainly depict the society. Schnabel's sonata, on the other hand, is a work of abstract art, using surrealism and exaggeration to warp images and environments, and portray society as suffering consequences that are unimaginably horrible, consequences that only a mind in the throes of a never-ending nightmare could envisage.

Brahms första pianokonsert i d-moll är ett av pianorepertoarens största verk, med en genomspelning som tar cirka 50 minuter. Det är ett maratonlopp får pianisten som konstant måste hävda sin rätt gentemot den stora orkestreringen. I detta arbete undersöks sambandet mellan framförandet av tre olika pianister samt deras relation till notskriften i Brahms första pianokonsert i d-moll. Syftet är att starta en diskussion varför det kommer sig att olika pianister kan uppfatta och tolka musiken olika även om de utgår ifrån samma notbild.

This study examines the intersection of painting and cinema through the oeuvre of American artist Julian Schnabel. A controversial painter who came to prominence in the contemporary art world of the eighties, the study begins by contextualizing Schnabel within the art critical debates of the period. Addressing and revising the perceived reputation of the artist, the first chapter re-positions Schnabel predominantly as an inheritor of various traits of post-war American painting, in particular the somatic, affective and existential treatment of the canvas characteristic of action painting. The body of the study proceeds to compare the ways in which Schnabel’s cinematic practice borrows, extends and thus affirms many of his painterly approaches. Examining his four major film works (Basquiat, Before Night Falls, The Diving Bell and the Butterfly and Miral) in tandem with his paintings, these chapters plot major confluences between the two media, in particular Schnabel’s overall use of a subjective, phenomenological method. Crucially, this aesthetic approach is shown to be in the service of an existential as opposed to epicurean aim, as it is most overtly expressed in his use of the objet trouvé and the dedication. The study ends by changing the vector of analysis to trace how Schnabel’s foray into the cinema may have influenced the aesthetic of his paintings, and subsequently how a reproductive medium such as film is able to push the boundaries of painting, not necessarily to announce its death. Ultimately, the goal of this study, beyond the monographic examination of a single artist, is to propose ways in which the medium of film has contributed to an evolving understanding of visual representation. For, unlike the modernist premise, the assumption is that it is precisely through the interaction and absorption of various formats that a medium can change, evolve and expand.

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