Acknowledgments iii me through family iv Table of ContentsAcknowledgementsÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉÉiiChapter One Introduction ÉÉÉÉÉÉÉÉÉÉ ID: 844881
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1 Music, National Identity and the Past in
Music, National Identity and the Past in Postwar Austrian Literature by Simon Trevor Walsh A dissertation submitted in partial fulfillmentof the requirements for the degree of Doctor of Philosophy(Germanic Languages and Literaturein The Unive2014 Doctoral Committee: Associate Professor VanessaAssociate Professor Mark A. Clague Professor Julia ! "" Acknowledgments ! iii me through family ! ! iv! Table of ContentsAcknowledgementsÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃ.ÃiiChapter One: Introduction ÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃ..1Chapter Two: ÃAlles Hšren:Ã Postwar AustriaÃs Musical Monuments in ThomasBernhardÃs Late Work ÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃ..37Chapter Three: ÃGebote, Vernetzungen, Vorschri
2 ftenÃ: Music, Gender, and Austriain Elf
ftenÃ: Music, Gender, and Austriain Elfriede JelinekÃs Die Klavierspielerin ÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃ..Chapter Four: Kein Land der Neuen Musik: Gert Jonke and Postwar AustriaÃsSounds and Silences ÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃ... 114Chapter Five: Conclusion ÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃ...145Works Cited ÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃÃ161 ! 1 Chapter OneIntroduction The Austrianare a brilliant people for having made the world believe that Hitler was a German and Beethoven an Austrian.1 significant investment in and emphasis on music that has taken place over the course of AustriaÃs Second Republic, the Austria of today.2 Nazi GermanyÃs 10003 European tour in 1947, the Vienna Philharmonic was
3 told by it!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
told by it!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 …sterreicher und aus Hitler einem Deutschn zu machen." Cited as a footnote in Jay Julian Rosellini, ÃThe Seminar for Freshmen as a Platform for Raising Awarenes of Austrian (and GeUnterrichtspraxis that WilderÃs Ãjokeà is welltool for teaching undergraduates about Austria. 2 Republik,ÃMemoria Austriae I. Menschen, Mythen, Zeiten), ed. Emil Brix, Ernst 3 nd bevormundeten …sterreich, erkor ihn zum Genius austriacus,à wrote Gert music at the official celebration in 1946 to mark AustriaÃs 950th ÃSelbstinszi ! 2 greatest admiration.Ã4 AustriaÃs full restoration to sovereignty and the withdrawaloccupancy, merged symbolically with and was perhaps even trumped by the re-of the famed Vienna State Opera. And mu
4 sic cornerstone of the thriving Austrian
sic cornerstone of the thriving Austrian tourist industry this study epromotional booklet prepared by the Austrian Bundespressedienst the status of a musical superpower Ãto Ãmusicà and ÃAustriaà as terms that were practically synonymous.5 This diliterary musical claims. As Vincent Kling has recently put it, Austrian literature is well known 6 concentrate here on three authors: Thomas Bernhard, Elfriede Jelinek, and Gert Jonke, !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 4 Guilty Victim: Austria from the Holocaust to Haider New York: Tauris, 2000) 5 Die europŠische Kultur hat in den Schšpfungen der Musik einen besonders charakteristischen Ausdruck gefunden, die Musik …sterreichs steht an so zentraler Stelle, da§ ÃMusikà und Ã…sterreichà fast als gleichb
5 edeutend geltenHarald Goertz, …ste
edeutend geltenHarald Goertz, …sterreich: Land der Musik. Wien: Bundespressedienst, 1984, 5. The Bundespressedienst document from 2000. 6 Review of Contemporary Fiction; Spring 2005; 25, 1: 23. ! 3 during or after artifacts, and by characters and sometimes also narrators who discuss, contemplate, The conceptual key to my inquiry lies in the notion, which I have already begun articulating above, of contemporary Austria as the ÃLand der Musikà or Land of Music. nto two interlacing rhetorical strands.7 musical inheritence of unrivalled quantity and quality. This inheritance is grounded in Haydn, and Beethoven, complimented by representatives of the Romantic era, for musical production seen in musical forms such as the ÃLŠndlerà and the operetta, genres to lthough a belief in Aust
6 ria as a particularly musical land has c
ria as a particularly musical land has circulated for at least two centuries !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 7 ÃÃÃein Volk von alters her musikbegabt.Ã Der Begriff ÃMusikland . Frankfurt am Main: Peter Lang, 2008. ! 4 (MayerCorporate State, that lasted from 1934 to 1938), my own interest is in its explicit manifestation after Bernhard, Jelinek, and Jonke exhibit a literary fixation with music that partially reproduces, even affirms a notion of Austria as the Land of Music. Under their Ãpoints -propelled by much more than a benign wish to celebrate AustriaÃs musical heritage. My notion as the Land of Music for what it really is, a ddiscourse. ! 5 *At its narrowest, the study focuses on music in Bernhard, Jelinek and Jonke as a way of supplementing, revising, r
7 esponding and contributing to the second
esponding and contributing to the secondary literature on each of these authors, including the ever-work. At its broadest, the study argues on behalf of musicÃs place in the world as a vital g postwar Austrian literature as my example, I argue that music served the above authors, not principally as an aesthetically pleasing from, but as entry into arguing for newly productive ways of accounting for postwar AustriaÃs musical study. In developing my methodological approach, I consult, connect, and sometimes augment the work of literary theorists, historians, cultural theorists and especially historical This icrisscross my topic. The narrative is self-fulfil Jonathan CullerÃs recent description of theory as Ãwork that succeeds in ! 6 challenging a8 My point of departure is to sketch the evo
8 lution in the Second Republic of a nasce
lution in the Second Republic of a nascent national imaginary, one founded on the widely accepted myth of Austria as the first approach to music which has limited the kind of questions that we can ask of music as ner of Ãnew musicologyÃ, a self-developments within cultural studies. Toward the end of the chapter I reverse the literariness !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 8 counter toThe Literary in Theory University Press, 1996), 4. ! 7 * Most of literary texts I examine in this study were published in the 1980s, the decade in which postwar Austrians were forced to belatedly confront their countryÃs wartime past. The historical coordinates leading to this confrontation bear rehearsal here. historical and one moral that defined and Ãdrastically complicatedà the wa
9 y postwar Austrians have related to thei
y postwar Austrians have related to their countryÃs prean identity after 1945. Versions of an ÃAustrianà identity circulated long before 1945, but it only makes sense national after formation of the Second Republic.9 Austro10 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 9 -Introduction.à New German Critique, 93 (2004): 3 10 The Paradoxical Republic: Austria, 1945, trans. Otmar Binder, Eleanor Breuning, Ian ! 8 ject : The Quest for Cultural Identity in Modern Austria.à ! 9 ppoints out, the victim theory had some basis in the political realities of the late 30s,12 continued acceptance in posttic reception Austrians granted Hitler in 1938, the pogrom against the Jews that took place Anschluss, the ease and rapidity with which Austria anyAustrians in the Holocaust.13 these spec
10 ific events, Dagmar Lorenz has convincin
ific events, Dagmar Lorenz has convincingly argued that it has also meant smà that, having flourished in the ideological soil of Nazi Germany, continued to find expression 14 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 12 and the Nazi assassination, as part of a failed coup attempt in 1934, of the Austrian Chancelor Dollfu§. 13 as a victim: ÃAustria could hardly be treated as just another Nazi-whose local Fascists and Nazi700,000 NSDAP members: at the warÃs end there were still 536,0Austria; 1,2 million Austrians had served in German units during the war. Austrians had been disproportionately represented in the SS and in concentration camp administrations. Austrian public life and high culture were saturated with Nazi sympathizers musicians).à Postwar: A History of Europe sin
11 ce 1945 14 A History of Austrian Litera
ce 1945 14 A History of Austrian Literature 1918, ed. Katrin Kohl and Ritchie Robertson (Rochester, NY: Camden House, 2006),181. Lorenz offers this as a description of Ãeveryday fasJelinekÃs Die Klavierspielerin. ! 10 The victim theory has been referred to as modern-myth.Ã From the beginning, then, tconstructed against its negative image, that of having not having not been complicit 15 1957, that virtually eliminated all labor dispute in postwar Austria.16 pointed out that the victim myth, along with the countryÃs neutrality and its political 17 equally reminded us that these apparently peaceful and reconstructive endeavors failed !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
12 !! 15 with the declaration of the Austr
!! 15 with the declaration of the Austrian State Treaty in May 1955, went hand in glove with its subsequent declaration which is to say that sovereignity and neutrality expressed intertwined national strivings that were both realized in 1955. 16 The Ambivalence of Identity: The Austrian Experience of Nation-Society. West Lafayette: Purdue University Press, 2001, 2817 Symptoms of Vienna. (Berkeley, Los Angeles and London: University of California Press, 1999), 32. ! 11 genocide. 18 * The 1980s heralded the belated and discomforting reflux of the Austrian past into its public sphere. The chief catalyst was a series of public scandals concerning the Nazi con Political edebates concerning AustriaÃs engagement or non-persist into the 21st Party led by Jšrg!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
13 !!!!!!!!!!!!!!!!!!!!!!!!! 18 The Rhetor
!!!!!!!!!!!!!!!!!!!!!!!!! 18 The Rhetoric of National Dissent in Thomas Bernhard, Peter Handke, and Elfriede Jelinek ! 12 multiple invocations of remained broadly accepted among the populace.19 * The trajectory of postwar Austrian literature follows the curve of the national historical amnesia outlined above Ã70s Austrian literature was mired in a project of simultaneous restoration and avoidance. Republic as the latest instance of an Austria that should seek its roots in the glory days of the Habsburg Empire.20 that national imagery, because during that time Austria had been canceled out by the engaging critically with the wartime past. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! The classic account is Claudio Magris' ! 13 As late as 1979 Ulrich Greiner, in his study Der To
14 d des Nachsommers, attributed symptoms o
d des Nachsommers, attributed symptoms of escapism, social inertia, and political apathy to recent Austrian fiction.21 assertion, pointing out that Austrian authors had, by the 1970s, already started to 22 here of Ingeborg Bachmann, an important literary predecessor of the three authors I examine in this dissertation prompted Bachmann to study the medical and legal literature on Auschwitz, the project Malina 23 narrator to come to terms with her life in late sixties Vienna. At its heart, the novel deals ÃÃways in which men and women interact. Bachmann uses AustriaÃs fascist past Ã!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 21 Der Tod des Nachsommers. šsterreichischen Gegenwartsliteratur Schreckenberger, Seventies and Eighties.Ã Shadows of the Past: Austrian Literature of
15 the Twentieth Century, ed.107 22 Tendenz
the Twentieth Century, ed.107 22 Tendenzen šsterreichischer Literatur der 80er Jahre.Ã Die Zeit und die Schrift: …sterreichische Lit, ed. Karlheinz F. Auckenthaler (Szeged: JATE, Innerlichkeit und …ffentlichkeit: …sterreichische Literatur der 80er Jahre 23 Malina. (Frankfurt am Main: Su ! 14 thematized in the book, for example, in the nightmare middle section, father depicted as a concentration camp commandant cuts out his daughtersÃpresides over a At any rate, the 1980s also heralded the full arrito AustriaÃs past. Naming Thomas Bernhard and Elfriede Jelinek as exemplary authors, Zbigniew !wiat"owski spoke of literary works in this decade, Gesellschaft scharf ins Gericht gehen, die harmonisierenden Legenden zerfleischen, 24 in which25 Matthias Konzett argues that all
16 three have sought to occupy insiderposti
three have sought to occupy insiderpostions of dissent and difference calculated to break the complacent homogeneity of !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 24 harmonizing legends, and which sought out conflict with past perpetrators.Ã Zbigniew !wiat"owski, ÃDas Identische und das Nichtidentische. Zum Wesen der šsterreichischen Literatur (und des …sterreichischen).Ã Nationale IdentitŠt: Aspekte, Probleme und Kontroversen in der deutschsprachigen Literatur, eds. Joanna ÃNesch ! 15 the fascist paradigms of Austro26 of the Waldheim affair, Austrian authors such as Josef Haslinger, Gerhard Roth, and Robert Menasse 27 unprecedented discursiveliterary In relaying the above I have been driving towathat a heightened sensitivity among Austrian authors toward t
17 heir countryÃs past,combined with a det
heir countryÃs past,combined with a determination to turn that unacknowledged past into literary material, !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 26 The Rhetoricxi. KonzettÃs valuable study, which I particuarly draw on in chapter two, is important insofar as he explicitly reads these three authors for their politicized literary incursions in the public sphere, thus marking them as writers worth readireasons. 27 Das war …sterreich: Gesammelte Essays zum Land ohne Eigenschaften, ed. Eva Schšrkhuber (Frankfurt am Main: Suhrkamp, 2005) ; Gerhard Roth, Das doppelkšpfige …sterreic, ed. Kristina PfoserPolitik der GefŸhle: ! 16 contemporary Austrian literature has been its blurring of literary and historical registers.) My second point is that, although
18 hitriaÃs wartime past were first bought
hitriaÃs wartime past were first bought to the publicÃs attention not28 opinions are heard and taken seriously, and that they take part in shaping public 29 * reached their !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 28 Kon…sterreichs Zeitgeschichte: VerdrŠngte Vergangenheit, …sterreich-und die Historiker, ed. Gerhard Botz and Gerald Sprengnagel, (Frankfurt am Main: Campus, 1994), 62. 29 eyond: Austrian Writers and Intellectuals Confronting the Political Right," New German Critique ! 17 demonstrated a particular willingness to engage music in their texts. Casting a retrospectiv-noted for instance: der Musik hat, und zwar ganz innig.30Although Bernhard, Jelinek, and Jonke are the three authors Schmidt Jelinek, and Jonke to engage music, as a privileged cultural
19 form, particularly * By no means am
form, particularly * By no means am I the first reader of contemporary or examine its musical dimensions. On the contrary, scholars have increasingly !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 30 intimately so,à Wendelin SchmidtBruchlinien: šsterreichischen Literatur 1945 bis 1990 (St. Pšlten: Residenz, 2010), otherwise noted, all translations in this dissertation from German to English are my own. ! 18 converted the face validity of this literatureÃs Ãmusicalityà into full-investigations. If Thomas Bernhard has received most of the monographic attention, each of Bernhard, Jelinek, and Jonke are, by now, the subject of musicgood percentage of which appear in edited volumes likewise bearing musical titles.31 These contributions almost always revolve around a s
20 ingle author; very seldom are multiple a
ingle author; very seldom are multiple authors brought together, as I propose doing here, in a single, continuous wider context of postwar AustriaÃs historical trajectory. Instead, music is deemed literary narratives. It is !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 31 tions on music in Bernhard, Jelinek, or Jonke. These will be cited when necessary throughout the text. For now, I will mention monographs on music and Thomas Bernhard that have appeared in the last two decades, all published by Kšnigshausen & Neumann in WŸrzburg. The oldest, from 1996, is Gudrun KuhnÃs ÃEin philosophischÃ. MusikŠsthetische †berlegungen zur Prosa Thomas BernhardsNearly a decade later, in 2005, Karl Solibakke published his comparative study on music in Thomas BGeformte Zeit: Mu
21 sik als Diskurs und Struktur bei Bachman
sik als Diskurs und Struktur bei Bachmann und Bernhard. by Lisbeth BloemsaatThomas Bernhard und die Musik: Themenkomplex mit drei Fallstudien und . In the early 2000s two conference proceedings were published in Austria, the first Die Musik, Das Leben und der Irrtum, was edited by Otto Kolleritsch. The second, edited by Roman Kop!iva and Jaroslav Kov‡! was published in 2003 and entitled Kunst und Musik in der Literatur: €sthetische Wechselbeziehungen in der šsterreichischen Literatur der Gegenwart essays on Jelinek and music. A and edited by Gerhard Melzer and Paul Pechmann: Sprachmusik: GrenzgŠnge der Literatur Bernhard, Jelinek, or Jonke. ! 19 common, for instance, for scholars to ask after the ÃMusikverstŠndnisÃJelinek or Jonke, that is the given way in which
22 each author portrays music in hisas a s
each author portrays music in hisas a self-of such acomparative, -32 The secondary literature has been particularly forceful in claiming, for example,that Bernhard, Je33 mapping musical forms onto their work.34 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 32 ,Ã/Ãaesthetic interrelationsà of the above 33 Nobelprize.org. 12 Jun 2014. 34 musical prose The Novels of Thomas Bernhard: Form and its Function find ÃUntersuchungen von Jelineks sprachlichen Verfahren, die ohne den Hinweis auskommen, Jelineks Texte wŠren quasiwŠren als Sprachpartituren zu klassifizieren, die sich als ein kontrapunktisches Gewebe (ideologiehaltiger) Sprachpartikel konstituierten,à (ÃExaminations of JelinekÃs without inde-language.à ÃElfride Jelinek und die Musik. Versuch einer ersten B
23 estandsaufnahme,Ã) , 190. For arguments
estandsaufnahme,Ã) , 190. For arguments concerning JonkeÃs Ãmusical prose,à see my fourth chapter. ! 20 Hens has argued tDer Untergeher, a novel I analyze in myin der erzŠhlerischMusik.35 protagoni-inte36 Critics who venture arguments such as this one can readily draw support from Bernhard, Jelinek, and Jonke themselves, each of whom are on record ascribing musical 37 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 35 Thomas Bernhards Trilogie der K Camden House, 1999), 18. 36 den Leser dementsprechend unendlich langweilen mŸÂ§te, wŠre da nicht die musikalische Struktur, die die Wiederholungen motiviert.à (ÃWhatÃs missing is the textual economy native to
24 language; this would be endlessly borin
language; this would be endlessly boring to the reader were it 37 usikerà or ÃSprachkomponistà (Ãlanguage composer). Jonke himself remarked in an interview that principle of composition but simply from being so saturated with musical structures that they emerge on their own with no set intent on his part.à Quoted in Kling, ÃGert Jonke,à ! 21 Bernhard reports as follows: Was mich zum Schreiben treibt, ist ganz einfach die Lust am SpielÃim eigentlichen Sinn halte ich fŸr ganz und gar sekundŠr, es genŸgt, aus dem zu schšpfen, was um uns isthat viel mit Musik zu tun. Ja, was ich schreibe, kann man nur verstehen, wenn . Wenn das erste einmal da ist, kann ich anfangen, Dinge und Ereignisse zu beschreiben. Das Problem Wie.38 Subordinating content to form, Bernhard dire
25 cts our attention to the musical how of
cts our attention to the musical how of his prose (above all, its rhythmical character) rather than the musical what.39 If Bernhard !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! told Annette Doll ÃAlle musikalische Komponenten sind beim Schreiben fŸr mich sehr wichtig.Ã ÃAll musical components are very important for my writing.Ã Cited in Annette Mythos, Natur und Geschichte bei Elfriede Jelinek: Eine Untersuchung ihrer literarischen Intentionen. M&P: Stuttgart, 1994, 87. Doll quotes Jetexts in a separate interview as ÃSprachkompositionen,Ã 88. 38 the actual material to be completely secondary, it is sufficient to fashion something out of what surrounds usÃ.I would s
26 ay that it is a question of rhythm and h
ay that it is a question of rhythm and has a lot to do with music. Yes, one can only understand what I write if one realizes that, what counts first and foremost are the musical components and that what I write is only a secondary concern. If this first thing is there I can begin to describe things and events. The how.Ã Von einer Katastrophe in die andere. 13 GesprŠche mit Thomas Bernhard, ed. Sepp Dreissinger (Weitra: Bibliothek der Provinz, 1992), 109. 39 face value. Further, as I see it, that acceptance is part of a wider overreliance among cal production. As Barthes has reminded us, the author does not precede the work but is Image, Music, Text, trans. Stephen ! 22 speaks rather casually of drawing his material from Ãwhat alternative line of argument according to which postwar Au
27 strian societyÃs preoccupation with mus
strian societyÃs preoccupation with music is precisely that which forms a vital thread of the Ãaround usà that found its way into the fabric of BernhardÃs work and the work of his two literary colleagues, Jelinek and Jonke.40 Many criticisms have been made othat is musically structured.41 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Heath (Hill and Wang: New York, 1977), 142lead to a situation whereby biographical appeals are used as a way of establishing an unwavering musicality or musical commitment in each author that is projected unproblematically onto their work. 40 t the Ãproblemà of music in his work also lies in the Ãwhatà of his musical occupation. I readily ex
28 tend this argument to Jelinek and Jonke.
tend this argument to Jelinek and Jonke. See Simon Walsh, ÃDas Problem liegt auch im "Was". Thomas Bernhards "Alte Meister" im Spiegel des Diskurses von Nacder Musik," Thomas Bernhard. Gesellschaftliche und politische Bedeutung der Literatur 41 da§ esà im Feld der MusikalitŠt von Bernhards konkurrierenden ErklŠrungen gibt, die in summa nur belegen, da§ Bernhard offensichtlich bewu§t mit musikalischen Formen spielte, die aber kein kohŠrentes Muster sichtbar machen und sich teilweise selbst aufheben on the musicality of Bernhard's language: by now there are an immense number of mutually contradicting explanations. Taken together they merely prove that Bernhard consciously played with musical forms, but these explanations donÃt permit any visible pattern to emerge and
29 partially cancel each other out.") Grego
partially cancel each other out.") Gregor Hens: Thomas Bernhards Trilogie der KŸnste, www.literaturhaus.at/index.php?id=3841 (accessed August 3, 2011) Elsewhere, Christa GŸrtler spea Verfahrensweisen als kompositorische Techniken literary method in terms of compositional technique.Ã) ÃElfriede Jelinek und die Musikerinnen,Ã Kunst und Musik , ed. Roman Kopriva and Jaroslav Kovar (Vienna: Praesens, 2005), 171. As far as the Jonke scholarship is concerned, Ulrich ! 23 in the way of the musical content they might otherwise wish to impart, it remains difficult to advance a case for the musicnamely by suggesting that we recast these arguments as athe willingness I have been describing specific scholarship on music in contemporary Austrian literature, above all in Bernhard, Jelinek,
30 and Jonke. But note that these studies b
and Jonke. But note that these studies belong to the longer!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! in making claims about Jonke's musical prose. For a more general account of the ! 24 seminal Verbal Music in German Literature, and Germanas a major source for Word and Music Stu42 circumscribed approach to music in Bernhard, import carries far beyond this narrow scholarship. Marc Weiner makes the above claim in his recently reissued book Undertones of Insurrection: Music, Politics, and the Social Sphere in the Modern German Narrative. -literature of the first half of the twentieth century (texts examined include Steppenwolf and Doktor Faustus), Weiner argues that the musical
31 references in this literature evoke soc
references in this literature evoke sociopolitical issues through a number of narrative devices and thus function Ãas part of 43 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 42 publication of this book in 1993, as even the most cursory examination of studies since then makes clear. In other words, there remains a dearth of investigations of German, Swiss, and Austrian literature that take into consideration the social and individually and when they meet.Ã Moreover, in casting his eye over the book series that, since 1997, has served as the central organ of the field, Weiner diagnoses an go beyond the positivistic, the biographical, the descriptively historical, and the New Critical. Hence, the series carries titles such as Word and Music Studies: Defining the FieldWord and Music
32 Studies: Essays on Literature and Music
Studies: Essays on Literature and Music and Ãnot, say, Word, Music, and Culture, or Word, Music, and Politics, or WorMusic, and the Ideology of FormÃÃ Weiner, Undertones of Insurrection: Music and Cultural Politics in the Modern German Narrative (New Brunswick, N.J.; Transaction, 2009), xii. 43 xii. ! 25 description by Schnitzler in Der Weg ins Freie WergTristan und Isolde, is judged by Weiner to be replete in covert (hence ÃsophisticatedÃ) references to contemporaneous 44 In his willingness to associate literary portrayals of music with such issues as democracy, nationalism, and gender identity, Weiner is an instructive guide. However, the cultural background (defined no more precisely than Ãsocieties of German -Austria to immediate postwar Germany. This ematic of postwar Austrian n
33 ational identity and the past. * In a n
ational identity and the past. * In a newlymethodological approach with the trajectory of contemporary musicology. As before, !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 44 Undertone, 2. The Schnitzler passage is conferred exemplary status in WeinerÃs study. Placing it at the beginning of his introduction, Weiner uses the passage to explain his approach to music in literature, and also distinguishes it from other litesimply reflected upon without any form of narrative subterfuge. ! 26 though, in the way of direct engagement with current musicological thought. The current study Feminine Endings judgedforum within which various models of gende45 McClaryÃs productive admissi
34 on of doubt, Phillip Bohlman soon after
on of doubt, Phillip Bohlman soon after criticized 46 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 45 Feminine Endings music criticism which professes to of music, but also the construction of music or music histories as if they had nothing to do with gender or with issues of sexuality. See my second chapter ÃKlavierspielerin 46 make us wonder, like Susan McClary, if we know what MUSIC is anymore.ÃMusicology as a Political Act.à The Journal of Musicology ! 27 were unproblematically something Ãout thereà whose Ãmetaphysical presence and ontological realityà the Ãsingularity of its name à assures.47 describe musicologyÃs traditional preoccupation with notation common essentializing Ãmodalitiesà which had had the effect of containing music, of nglomusicology as a high
35 ly formalist enterprise. Partly shaped b
ly formalist enterprise. Partly shaped by historical circumstances, mode of mathematics.Ã48 We might note here that the notion of an exclusive musical autonomy still bubbles away !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 47 The Journal of Musicology (Autumn 1993), 419 48 musicologyÃs wartime history. A large number of postwar American musicologists had been forced to flee HitlerÃs Germany, in which musicology flourished as a practice dedicated to pressing music into service of Nazi ideology. Listening tSubjectivity, and Nineteenth- 2004), 2. On this topic, see Pamela PotterÃs study Most German of the Arts: Musicology and Society from the Weimar Republic to the End of Hitler's Reich. University Press, 1998. The musicological debates I am discussing above (and which around the
36 concept of musical autonomy, the idea t
concept of musical autonomy, the idea that music has no otthan music. To clarify, this study does not dispute the capacity of music to detach itself from the world and operate in a way that seems to point radically to itself. Nor do I dispute that musical analysis can function as a powerful and does about music. ! 28 includes the secondary literature on music in postwar Austrian literature). As I have tried to show above, the field continues to treat music as a closed albeit aesthetically transferable form that h, therefore articulating a methodological position that is out of step with contemporary musicology. For following interventions such as McClaryÃs, more and more musicologists have speak, in a social and cultural setting.Ã49 Jane Fulcher has delivered one of the most recent and m
37 ost cogent statements on the current tra
ost cogent statements on the current trajectory of new musicology. In the introduction to The Oxford Handbook of the New Cultural History of Music, a volume50 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 49 Musical Elaborations xvi. 50 -historical thought, I nevertheless find her too dismissive of Adorno. AdornoÃs value for the present study would remain high haddoes AdornoÃs withering critique of late modernity provide Ãcritical grist for the literary mill of my chosen authors. He also helped define the d political debates that began to emerge in 1950s in Germany concerning ÃVergangenheitsbewŠltigungà or coming to terms with ! 29 Fulcher arrives at BourdieuÃs abiding cosymbols and the symbolic responses this elicits.à Under BourdieuÃs influence 51 practicing a new cu
38 ltural history of music Ãothers, by Ric
ltural history of music Ãothers, by Richard Leppert, Michael Steinberg, and Fulcher herself Ãquestions about musical practice and performance, the larger cultural and political contexts of listening; music and alterity, and music as it manifests itself in public meanings, experiences and memories. And they are approaching these questions via !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! explicitly concerned music. Moreover Ãwere inextricably linked to his wider cultural critique. Rose Subotnik has drawn our attention to AdornoÃs constant, if constantly unacknowledged and undervalued, influence on new musicologyÃs trajectory. ÃAdorno and the New Musicology.Ã Nigel Gibson & A
39 ndrew Rubin (Ed.) Adorno: A Critical Rea
ndrew Rubin (Ed.) Adorno: A Critical Reader. Malden: MT, 2002: 234excellent starting point for AdornoÃs musical thought. See Essays on Music:W. Adorno, ed. R. D. Leppert, trans. S. H. Gillespie et al.51 Methodologies, and Lines of Inquiry,Ã The Oxford Handbook of the New Cultural History of Music, edFulcherÃs own account of French musical culture of the 1920s is a good example of the Bourdieuexamining music as a Ãculturaincluding ideology or political rhetoricÃÃIbid., 10. More specifically, drawing upon BourdieuÃs analytic prism of symbolic violence and contestation, Fulcher writes elsewhere about the Ãsocially emblemwas held in 1924, a time of profound social uncertainty and political discontent in France. Fulcher argues that the funeral constituted both a religious and a national cele
40 bration whose aim it was to Ãthwart fur
bration whose aim it was to Ãthwart further symbolic collapse and to shore up existing symbols.Ã ÃSymbolic Domination and Contestation in French Music: Shifting Opera and Society in Italy and France from Monteverdi to Bourdieu, ed. Victoria Johnson, Jane(New York: Cambridge University Press, 2007, 316. ! 30 topics relating to the constructions of the body, gender, sexuaand the shaping of the self in society; nationalism, cosmopolitanism, and * It seems to me that Fulcher slightly overstates the novelty value of musicologists and cultural historians coming together to work on project of mutual interest. For 52 Music and German National, for example, Applegate and Potter describe how, at roughly the turn !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! See Celia Applegate, ÃWhat
41 is German Music? Reflections on the Role
is German Music? Reflections on the Role of Art in the is it?à ! 31 of the nineteenth century, musical activity became a kind of binding agent in the face of political fragmentation. Although composers such as Mendelssohn and Wagner came to 53 Agnew has more recently traced this narrative backwards, as it were, to the 1770s. Via -narrative she 54 define and delas a Ãpeople of musicà provided a potent framing device within nationalist debates !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 53 -Forkel (who, in his BaGerman music) nineteenthalso possessed a heightened sense of the indispensability of music for the national question. 54 Enlighten, 165. ! 32 study? Tak 55 and postwar Austrian identity. For other sources that touch on this topic, see: Cornelia Szab—onstruktion &#
42 133;sterreichs nach 1945 mittels Musik,Ã
133;sterreichs nach 1945 mittels Musik,ÃMusik, ed. Dominik Schweiger, Michael Staudinger, and Nikolaus Urbanek (Frankfurt/Berlin: Peter Lang, 2004), 355and KBegnadet fŸr das Schšne: Der rotModerne ÃÃIn Which Camp is Austria?à The Fight Against the Destruction of the New Music, and Nazism. Eickhoff, ÃÃMit Sozialismus und SachertorteÃà Ãmusikpolitische Verhaltensmuster nach 1945 in …sterreich,à Deutsche Leitkultur Musik? Zur Musikgeschichte nach dem Ho Franz Steiner Verlag, 2006) 56 Musicking: The Meaning of Performing and Listening. Hanover: University Press of New England, 1998. In his introduction Small declares that there Ãis nsomething that people do. The apparent thing Ãmusicà is a figment, an abstraction of the action, whose reality vanishes as soon as we examin
43 e it at all closely.Ã For Small, these
e it at all closely.à For Small, these Ãentire set of relationshipsà include not only performing, but also composing, listening ! 33 supplementing or expanding our understanding of literary modernism? That is a ones? To this I answer that it is precisely literatureÃs weakness as musicology so ! 34 * In Chapter Two, ÃThomas BernhardÃs Late WorkBernhardÃs Vor dem Ruhestand Der Unterge Heldenplatz late work cialist past. On the one hand, BernhardÃs musical monuments make themselves available in these three works as a f this is a form of monumentalizing that takes place in the public sphere, Bernhard, I argue, allows a their own musical monuments. In chapter three, ÃÃGebote, Vernetzungen, VorschriftenÃ: Music, Gender, and Austria in Elfriede JelinekÃs Die Klavierspielern !
44 35 JelinekÃs musical preoccupation as b
35 JelinekÃs musical preoccupation as biographically motivated and therefore incidental to her other concerns, I show how music forms the very vehicle for the interrogation of a Kohut. My fourth chapter, ÃKein Land der Neuen Musik: Gert Jonke and Postwar AustriaÃs Sounds and Silences,Ã is an examination of Gert Jonkehowever acStoffgewitter The concluding chapter takes as its starting point Max PaddisonÃs observation ! 36 about AdornoÃs musicological approach, namely that there was Ãno resolution of the tension, in Adorno, between autonomous works and the social relations of their identifying and examining the circulation of music in postwar Austrian literature as a f Bernhard, Jelinek, and Jonke. I will argue that, although they were eager to engage music as an absolute that the dim
45 ensions of that history severely undermi
ensions of that history severely undermined the chances of success for such a project. ! 37 Chapter Two ÃAlles Hšren:à Postwar AustriaÃs Musical Monuments in Thomas BernhardÃs 1 Ã…sterreich selbst ist nichts als eine BŸhneÃ: Thomas Bern, à ed. Manfred Mittermayer and Martin Huber (Vienna: BrandstŠtter/…sterreichisches Theatermuseum, 2009). ! 38 The playÃs narrative is therefore framed by a prominent and palpable acoustic episode that permits the audience to join Frau Schuster in literally hearing the Third Reich. We are confronted with a version of what Leslie Morris, in a pivotal essay, has called the Ãsound of memory.à Morrisà argument, concerned as it is with post-German and Jewish memory, unfolds within the space of Ãpostmemory,à a concept Ãexp
46 eriences they Ãrememberà only by means
eriences they Ãrememberà only by means of the stories, images, and behaviors 2 turn to the acoustic visual with the written word that is manifested in literary and critical studies of German and Conceptualizing the the primacy of the visual.3 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 2 http://www.postmemory.nethe three books in which she has examined and elucidated her concept. See, for example The Generation of Postmemory: Writing and Visual Culture after the Holocaust York: Columbia University P #!Leslie Morris, ÃThe Sound of Memory.à German Quarterly might regard her essay as a first approach at how sound figures into Holocaust ! 39 film f iconic sounds as we do of iconic images? Can an exploration of sound help demarcate the lines that shape and define German and Jewish
47 memory? Can we speak of a site of memor
memory? Can we speak of a site of memory as the sound of memory? If the visual sites of memoryÃin remembranceÃinto what terrain does an exploration of the sound of memory lead us? Holocaust?à (368) It is this ! 40 family sing their way to freedom across the Swiss Alps after the Nazis invaded Austria, Robert WiseÃs 1965 film is striking for forcefully (and t4 I focus my readconcept of themusical monument. -conceptual apparatus u5 intuitive, though naive understanding about monumentality most of us already possess, ermany. Taking advantage of the argumentative opening Huyssen provides for writing about monuments other than familiar ones of Ã!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Ãone of the crassest examples of Austria's Ãdenazificationà inÃRobert Wise's ! 41 musica
48 l monuments the introduction to his stud
l monuments the introduction to his study, is that that monumentality in music is not just a matter of 6 firm the direct aesthetic appeal and native moral authority that musical monuments have often exerted on mass audiences, Rehding is 7 Huyssen and Rebe applied to BernhardÃs treatment of music and the Nazi past. In fact, writing from the 8 principally of the crude and aggressive monumentality so central to the Nazi aesthetic, -responding to. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 6 Music and MonumentalityNineteenth 7 183. 8 Music and Monumentality, 14 ! 42 * Tapping into the multiple, sometimes contradictory valences they are capable of registering, Bernhard, Ion his late literary landscape. These monuments rise up to confront postwar Austrians achieved most succinctly
49 in his 1978 play , is to provoke his aud
in his 1978 play , is to provoke his audience into hearing musical -sounding celebration of the fascist past, we later come to hear it as a more covert Ãvortšnendeà or forwardDer Untergeher Heldenplatz s. My focus is therefore on the authorÃs late us, it was not until BernhardÃs later work (namely from the early 80s onward, on the ers as agents in postwar society.9 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 9 Ãresignation, isolation and nihilismà afflicting his earlier characters and concretely position them asThe Rhetoric of National ! 43 succeeded in extending the Ãnocturnal, coldly historical visionà of his earlier works into Ãthe high reaches of modern culture,Ã10 self-keep his lens adjusted to the long shot of Ãhigh cultureà or Ãthe Arts,à 11 if not most h
50 ard are musical. My position in what fol
ard are musical. My position in what follows is that Bernhard, despite invoking many kinds of artistic disciplines in his late work, exhibits a telling preoccupation with specifically musical objects. * As Jeanette Malkin has reminded us, the Ãpast iBernhardian play or novel. It is frozen 12 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Dissent in Thomas Bernhard, Peter Handke, and Elfriede Jelinek Camden House), 29. 10 The New Yorker 11 public voice as a disruptive element into AustriaÃs cultural public sphere. In doing so, he was able to diagnose the -canonizatioThe Rhetoric of National Dissent, xi. In complimentary fashion, Konzett later notes that Bernhard exposed Ãso
51 cietyÃs dubious expressions of cultural
cietyÃs dubious expressions of cultural narcissism, amnesia and revisionism.Ã (26) 12 Memory University of Michigan Press, 1999), 185. My use of Malkin as an interlocutor in the ! 44 BernhardÃs monologueory, and hyperbolic idiom of high pessimism, that pessimism is usually anchored, as she also reminds us, in a concrete historical experience that renders Ãspecific and provocative what would 13 Heldenplatz for his earlier play Vor dem Ruhestand, grouped together by Malkin as overtly political Vor dem Ruhestand nt of BadenHans Karl Filbinger.14 justice and former assistant commander of a Nazi concentration camp. He lives with his or generations. The three of them gather for their annual celebration of the birthday of Heinrich Himmler, former head of !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
52 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! first part of this chapter reflects not just the high quality of her argument, but also the circumstaVor dem Ruhestand, which remains one of BernhardÃs lesser13 Memory, 185. 14 had indiscriminately inflicted death sentences for trivial offences while working as a naval judge in Nazi Germany. Bernhard wrote the play for his friend Claus Peymann, who was forced to resign from his position as direcafter having publically criticized Filbinger. ! 45 bombing raid at warÃs end) to shave her head concentration camp inmate. Vera and Rudolf are both accomplished musicians (she on the piano, he on the violin) who repeatedly attest to the centrality of music in their lives: Ão
53 hne Musik ist das Leben ja gar nicht vor
hne Musik ist das Leben ja gar nicht vorst15 of NietzscheÃs. The present celebration, which doubles as a retirement party for Rudolf, 16 second act, BeethovenÃs Fifth Symphony, the!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 15 Thomas Bernhard, Vor dem Ruhestand: Eine 23. All subsequent qubody. 16 analytically fruitful BernhardÃs references to specific composers or pieces, preferring to view such musical impulse. The position I am taking in this chapter is that, although Bernhard does tend to disperse musical references with abandon, it is nevertheless often possible to ar ! 46 ical calling card of the Nazis. 17 fŸhrer.Ã Arnold Schering,Zeitschrift fŸr M of Beethoven see Heribert Schršder, ÃBeethoven im Dritten Reich. Eine Materialsammlung,Ã Beethoven und di
54 e Nachwelt. Materialien zur Wirkungsgesc
e Nachwelt. Materialien zur Wirkungsgeschichte Beethovens, ed. H ! 47 ebenso sicheres Parteiabzeichen fŸr unverbesserliche Nazis wie das Hakenkreuz.Ã18 Shifting responsibility for the contamination of music from BernhardÃs text to PenmanÃsproduction, Karasek writes this closing paragraph, as it were self-not the case that music might occupy the same symbolic universe as the swastika. I submit, however, that the productionÃs 19 commemorate National Socialist Ãachievementsà of the past not in spite of, or even t !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 18 Nazi emblem as was the swastika.à -Thomas Bernhards ÃVor dem Ruhestandà Der Spiegel 155. 19 the longto Germany on the basis of ÃGermideologues (among them many German musicologists) lent such lofty talk a racial
55 basis by declaring Germans alone capable
basis by declaring Germans alone capable of producing and understanding musical masterpieces. Singling out the heroic Beethoven as a Nazi music icon, Michael Kater has summarized the relationship between music and the Nazi regime as follows: ÃUnder a code. Whenever Germans heard a work of Beethoven on the radio or in concert, such a code had the objective of reinforcing their self-process of setting them apart from, even elevating them above, other peoples.Ã ÃIntroduction,Ã Music and Nazism: Art under Tyranny, 1933, ed. Michael H. Kater and Albrecht RiethmŸller (Laaber: Laaber, 2003), 9. See also, Michael H. Kater, The Twisted Muse: Musicians and Their Music in the Third Reich University Press, 1997). In postwar Austria, music, as I pointed out iwas (ironically) invoked as a distancing
56 mechanism from Germany and as a way of r
mechanism from Germany and as a way of reinforcing the notion of Austria as a cultured land. As I argue in this chapter, however, the Nazi resonances carried by music did not disappear after 1945; went unheard. !! ! 48 are musical As part of a minutelyÃuniform, the Nazi photo album and the FŸrst von Metternich champagne ÃHšller siblings haul out for celebration on this special day. In combination, the musical 20 We can also regard this musical commemoration decisive memorial intention.Ã21 public presentation on the theatrical stage. As Gitta Honegger has noted, BernhardÃs 22 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! What is Reenactment?Ã ! 49 idiom of my overarching project, Bernhard disturbs the audienceÃs self-complacency (the existence of which is suggested
57 by KarasekÃs defensive remarks), oblig
by KarasekÃs defensive remarks), obliging them to reflect on the centrality of music to the Nazi cultural program and on * Crucially, BernhardÃs insistence in Vor dem Ruhestand music and Nazism takes on subtle dimensions as a warning about the putatively imminent rehabilitation of Nazi sentiment in Germany. (That Karasek comments on unverbesserlicheaware that BernhardÃs unsavory account of music is calibrated to provoke a presentaudience.) More specifically, a careful reading of the play leads us to realize that the FrŸher war die Muso sehr im Vordergrund.23)absence. Thus, not only do Vera and Rudolf wonder out loud whether they are still llerexistenz,Ã the ten years following the war in which he hid in the cellar for fear of !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
58 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 23 ! 50 arrest, that music last played a significant role in their household. During that time VeraÃs performances at the piano were said to sustain and nourish the concealed Consider further that Vera and Rudolf are adamant that the majority of Germans without fear of rebuke.24 avow Nazi ideology seeks the ballast of music, whose return to the household signals ow the siblings might publically declare their Nazi predilections relies on an explicitly wir wieder ganz offen bekennen kšnnen was wir sind25 io of exhibiting Rudolf, fully regaled in his SS uniform, in the center box of the opera house. musical -!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 24 register of critics
59 of GermanyÃs failure to address its Na
of GermanyÃs failure to address its National Socialist past: ÃIrgend etwas/zieht sich zusammen/Ganz in unserem Sinne/Ich tŠusche mich doch nicht an den Menschen/die meisten sind gute Deutsche/die mit dem was jetzt vor sich geht/nichts zu tun haben wollen/Der gute Deutsche verabscheut was hier in diesem vorgeht/Verkommenheit, Verlogenheit, allgemeine Verdummung/Das JŸdische hat sich .Ã (85) just to our liking is beginning to concentrate itself/I havenÃt deceived myself about human beings/most people are good Germans/who donÃt want to have anything to do with what is currently occurring/the good German detests what is happening in this country/squalidness, mendacity, general stultification/The Jewish influence has taken ho.Ã 25 ! 51 * Bernhard also uses Heldenplatz informed p
60 rovocation that is likewise carried out
rovocation that is likewise carried out in the public sphere. But unlike Vor dem Ruhestand, which bears the subtitle ÃEine deutschen Ãcomedy of the Heldenplatz audience. In fact with BernhardÃs last work we reach the point at which his long literary about contemporary Vienna containing mor26 * !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Was war der "Skandal" an Heldenplatz? Zur Rekonstruktion eine šsterreichischen ! 52 The action on stage takes place in the wake of the death of Josef Schuster, a Jewish professor of mathematics at the University of Vienna. Schuster, who had returned to Vienna after a wartime exile in England, has out of the window of his apartment adjacent to Heldenplatz. Gathered in his apartment, s of his death. Along the way they evoke AustriaÃs p
61 ast, which drove the Schusters into exil
ast, which drove the Schusters into exile, and the unchanged At one point Robert Schuster invokes his late brother while weighing up the pros and cons of living in London, Oxford and Vienna:Wenn ! 53 to carry over to the rest of the passage? The reference to the wife who owns the vineg 27 I what am I supposed to live from in London/ Not of course from my wifeÃs vinegar factory/Truth be told I account of muI ÃThomas Bernhard, Heldenplatz, (Frankfurt am Main: Suhrkamp, 1988): 110body. ! 54 puts it, Ãeigenes, das dem des Bruders sehr Šhnelt28 Konzett has pointed to the secondary literatureÃs failure to identify BernhardÃs Ãidiosyncratic presentationà of the two protagonists, a presentation that informs the More specifically, Bernhard places the brothers on opposing sides of what
62 Konzett describes 29 arena of culture a
Konzett describes 29 arena of culture at large, I must once again insist that the ideological distance between music. I see this as a divergence that Bernhard is sharp relief precisely because he otherwise depicts them as overlapping characters with The passages which concern me here are not those spoken by Robert Schuster Ãwhose monologues are ful-common to BernhardÃs protagonists Leute wie der Onkel Robert!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 28 his own one Thomas Bernhard 29 The Rhetoric of National Disse, 49. ! 55 stŸrzen sich nicht aus dem Fensterdie werden auch nicht von den Nazis gejagt gefŠhrlich ist es nur mit solchen wie dem Vater die ununterbrochen alles sehen und 30 In the continuation of her comparative account Anna then embraces a musical examp
63 le. Im Musikverein stšrt es ihn a
le. Im Musikverein stšrt es ihn auch nicht der Onkel das konnte der Vater eben nicht. (69)31 ÃAlles sehen und alles hšren:Ã we must pay careful attention here to the relationship between seeing and hearing tha!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ÃPeople like uncle Robert/ don't throw themselves out the window/ they also arenÃt ! 56 circumstances without thinking of the Nuremberg Rally? To 32 Michael H. Kater and Albrecht RiethmŸller, Music and NazTyranny, 1933 ! 57 remark of AnnaÃs, offered as a rejoinder to her sisterÃs interjection that their father continued to attend Musik Gesinnung um Musik 33 If Anna contends that her father was forced to ignore the National Socialist disposition of the Musik
64 verein Ÿberhšrenliterally Ãto
verein Ÿberhšrenliterally Ãto overhearÃ) signals the possibility that the music itself was capable by some kind of associative process of carrying a National Socialist Ãmessageà which needed to us shielding himself from the objectionable audience members: it was also necessary for him to block his ears. We have arrived at the countersic. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 33 mindset/ of the Musikverein patrons/ he had to turn a blind eye and, so to speak, a blind ear/ in order to ! 58 Finally, if Anna notes in the passage quoted at the beginning of this sequence that her father had the Ãdangerousà ability to hear distinction between the dangerous ÃDenkendenà and the harmless ÃArglosenà in the foll die Arglosen die Beethoven ungestšrt hšren34
65 Ich will meine Ruhe habenbelong to th
Ich will meine Ruhe habenbelong to the ÃArglosen,Ã the unsuspecting ones who are capable of listening to If Josef SchusterÃs reaction to music is rather idiosyncratic (though not implausible, as I have been trying to show), Bernhard seems to theorize through Robert !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 34 Beethoven/ undisturbed/ those are the kind that people prefer.Ã ! 59 Schuster an alternative response to music,paucity of thinking. One way of approaching their diverging musical response is 35 and hear everything to the claim that he was one of the dangerous ones (Ãdie nt, on the other hand, Robert Schuster seems to speak not for the danger but the innocuousness of music.36 view of what the characters in Heldenplatz have to say about postwar AustriaÃs lamentabl
66 e political and historical situation, my
e political and historical situation, my reading of this passage is that the !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 35 The Anti 36 offering an alternative account of music as a harmless presence that does nothing but encourage a m-multiple occasions in his novel Alte Meister, the music critic Reger (also a Jewish Die …sterreicher,live from covering up and forgetting things.Ã (146) He also criticises AustriaÃs current political climate: ÃWenn wSkandal[finsteren moralischen Tiefpunkt erreicht.Ã (164) ÃForty years after warÃs end the Austrian circumstances have reached their dark moral nadir.Ã Alte Meister. Komšdie (Frankfurt am Main Suhrkamp, 1985). Especificity, they nevertheless mirror the atmosphere of political and personal irresponsibility toward AustriaÃs
67 Nazi past that reigned during the 1980s
Nazi past that reigned during the 1980s, and anticipate the public scandal of the Waldheim affair, which then provided important impulses for Heldenplatz. ! 60 these considerations? To be sure, the outer circumstances of isch? Dauernde Wiederholungen, Ã (ÃIs stupidity perhaps musical? Ongoing fact that these are also its favorite characteristics?Ã) Cited in ! 61 for the playÃs debut? Gitta Honegger, I think, ! 62 ough, the fate of Jewish Austria? 38 The Columbia Encyclopaedia of Modern Drama, ed. Gabrielle H. Cody and Evert Sprinchorn, vol. 1Press), 605. 39 Die Autobiographie: Die Ursache; Der Keller; Der Atem; Die KŠlte, Ein Kind Residenz, 2009). 40 Der Untergehnovel. See his book Trilogie der KŸnste large extent, Hens enthusiastically follows BernhardÃs self-discussed
68 nicht was wie ! 63 Der Untergeher is
nicht was wie ! 63 Der Untergeher is BernhardÃs most obviously musical novel. An unnamed narrator disembogues an intense oneÃDreieckgeschichteà 41 attack suffered at the!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! bis zu dem Grad wo die Technik Gegenstand what rather the virtuosic manner with which it is portrayed, up to and including the degree to whan object of the portrayal.Ã) This quotation, part of which is a virtual restatement of BernhardÃs original dictum, is then offered as a definition of ÃManierismus,à and Hens permits himself to interpret Bernhard as a literary, or more accurately, a literary-mannerist. In doing so, Hens follows Bernhard a second time by met
69 hodologically supporting BernhardÃs wel
hodologically supporting BernhardÃs wellThomas Bernhard Alfred Pfabigan disputes the claim that Bernhard emancipated his texts from narrative plot, replacing it with a Ãmusikalische Sprachkunst.Ã (21) Just as Pfabigan can claim for Auslšschung so too can we claim for Der Untergeher several decades about three musicians, that it does so by cleverly mixing musical fact with musical fiction, and that it takes place in a historical location concretely identifiable as postwar Austria. 41 creating in his fictionalized pianist an alternative version of himself. Indeed, GouldÃs status as a maverick artist, the easy proliferation of his artistic output, his manic fluency in speech, and the self-image of Bernhard that has come down to us. However, as will become clear in my reinforce biographic
70 al similarit ! 64 book before us, a st
al similarit ! 64 book before us, a stunning and bencounter with Gould and the consequences of that encounter. According to the leting their studies. Everything that happened after Salzburg was a tortuous postscript to their musical impotence. While Gould, de into an aimless existence punctuated by unsuccessful dabbling in alternative artistic pursuits, living off the fat of their well-families. His parents dead from a car accident, Wertheimer becomes ever more reliant * In an enigmatic episode from the novel, whose importance is emphasized by its placement at the midpoi ! 65 fŸnf bis sechs Meter hohen RŠumen. Diese Zimmerhšhe hatte uns dieses Haus sofort mieten lassen, die herumstehenden Plastiken stšrten uns nicht, sie waren l, dachte ich. Zuerst waren wir Ÿber d
71 en Anblick der Plastiken erschrocken gew
en Anblick der Plastiken erschrocken gewesen, Ÿber noch viel idealer fŸr unseren Zweck.Ã42 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 42 deceased Nazi sculptor, the creations of the master, as he was called in the area, still stood all over the house, in rooms that were five to six meters high. It was the height of these rooms that had convinced us to rent the house on the spot, the sculptures standing around didnÃt disturb us, they improved the acoustics, these marble eyesores along the walls that had been created by a world artist, as we were tolfor years in the service of Hitler. These giant marble protuberances, which the owners were shocked by the sight of the sculptures, by this cretinous marble and granite monumentality, Wertheimer especially cowered before the
72 m, but Glenn immediately ideal, and beca
m, but Glenn immediately ideal, and because of the monuments even more ideal for our purpose.Ã Der Untergeher All subsequent quotations are taken from this text and will be made in the main body. The English translations are Jack DawsonÃs, see Thomas Bernhard, The Loser New York, 1991), 77 ! 66 That the scul-repute indicates local acceptance, if not wholesale endorsement, of his work. Bernhard is likely reworking facts from the life and work of Josef Thorak, one of HitlerÃs favorite 43 Unflatteri44 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! , one of the events staged by Linz in 2009, the year that city was officially ! 67 downfall of Nazism, thouuncertain, hovering, like Beethoven in Vor dem Ruhestand, somewhere between a celebration of a triumphant Nazism and a melancholy c
73 ommemoration of a recently In the above
ommemoration of a recently In the above passage the particularly favorable. Contrary to what the reader might expect, the basis for this claim tion that the dispersed statues didnÃt disturb anyone by then disclosing their initial shock value. Unsurprisingly, the Jewish Wertheimer, who initially cowers in the corner, !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! simplicity in expression and proportion in the parts, he produced works that owed everything to size and exaggerationÃSuch torsos, crowned with faces that were grim, arrogant and ruthless, were icons of brutality and perhaps sexual fantasy.Ã Frederic Hitler and the Power of Aesthetics ! 68 comment that deflects 45 bu
74 rst out laughing. Wertheimer joined in t
rst out laughing. Wertheimer joined in this resounding laughter, I thought, the two of them laughed to the point of total exhaustion and in the end they went down to the cellar to get a bottle of champagne. Glenn popped the cork right in the face of a sixmeter high Carrara angel and squirted the champagne at the faces of the other monsters hurled the bottle at the emperor head in the corner with such fury that we had for cover.Ã The Loser, 80. ! 69 statues, the fusing of his manic and exaggerated laughter to GouldÃs reads like a schoolboy trying to align himself with a bully by imitating the latterÃs wanton aggression. After fetching a champagne bottle, Gould then sprays its contents into the -truly Dionysian performance by hurling the bottle into the head of the imperator. J.J. 46 I detec
75 t a transfer from the crude and violent
t a transfer from the crude and violent material monumentality of the Nazi statues into the musical sphere Ãconnection.47 Ãfanatical and inhumanÃ48 narrator and Wertheimer in 1953, when Gould plays the Goldberg Variations for them !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 46 The Novels of Thomas Bernhard, 47 -music comparison in the FrŸhromantik. Psalterspiel: Skizze einer Theologie des Ps Verwandtschaft der KŸnste," 94 48 The Loser, trans. Jack Dawson (Vintage: New York, 1991), 188. ! 70 celebration.49 destroyed (Ãhat vernichtetÃ) Wertheimer.50 Der Untergeher allultimately succumb to those terms. We read in retrospect that the narrator and Wertheimer confidently predicted that the completion of GouldÃs musical studies in gehen an seiner Kunstbesessenheit, a
76 n seinem Klavierradikalismus.Ã (9)51 e
n seinem Klavierradikalismus.Ã (9)51 eventually does arrive, the narrator considers it a natural albeit delayed consequence of hineingespielt and the ÃUngeheuerlicheit(9)52 Besessenheit, Ruhmsucht, Klavierradikalismus, Kunstbesessenheit, Ausweglosigkeit !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 49 303: nin Nazi sculptorÃs house). 50 Goldbergvariationen Bildhauerhaus fŸr niemanden anderen als fŸr Wertheimer und mich gespieltÃ1953 hat Glenn Goul 51 returning to Canada from Salzburg, destroy himself with his music obsession, with his piano radicalism.Ã The Loser, 5. 52 played thought.Ã The Loser, 5. ! 71 Alfred Pfabigan states that 53 Nazis in England, thereupon returned to Vienna and found everything there undisturbed, including the large apartment on the Koh
77 lmarkt complete with its art treasures.Ã
lmarkt complete with its art treasures.à Frankfurter Allgemeine Zeitung 1983). 54ÃÃdoesnÃt exert any influence on the plot.à Ein šsterreichisches Wel, 343. See also Konzett: in response to Sigrid LšfflerÃs faulting of Claus Peymann (the director of the 1988 Burgtheater production of Heldenplatz) for having ! 72 seemingly contradicts himself, howemore overtly depicted circumstances of the Schuster brothersà expulsion onto n Ãunstated constellationà that 55 The position of this chapter is not only that the Jewishness of all the Schuster brothers and Wertheimer makes itself available as an interpretative resource, but that music. Support is forthcoming from Mireille Tabah, who has recently claimed that WertheimerÃs Ãressed Jewish heritage56 the end of the novel by an empl
78 oyee at WertheimerÃs hunting lodge. Spe
oyee at WertheimerÃs hunting lodge. Speaking in the s sister, Ãnoch fršhlich[e] Ã, lustige KinderÃ57 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! erased all signs of the Jewishness among the Jewish characters, who are otherwise unremore about Lšffler and ÃAustriaÃs lingering racial stereotyping of Jewish culture than BernhardÃs purportedly deficient representation of Jews.Ã The Rhetoric of National Dissent, 50. 55 Ein šsterreichisches Weltexperiment, 425. 56 Heldenplatz Auslšschung,Ã Thomas Bernhard: Gesellschaftliche und politische Bedeutung der Literatur, ed. Johann Georg Lughofer (B 57 The Loser, 162. ! 73 contact and withdrew completely into
79 itself, Ãwohl aufgrund der sie dort umg
itself, Ãwohl aufgrund der sie dort umgegebenen JudenfeindlichkeitÃTabah puts it.58 Franz also relates to the narrator a crucial story concerning WertheimerÃs mental unraveling in the weeks leading up to his terminal departure for Switzerland. These final weeks pivot around a grotesque return to music. He arranges the delivery of a ways despised. Over the next two weeks Ãhis guests with endless hours of Bach and Handel played upon his faulty instrument: Wertheimer habe, so Franz, pausenlos Bach auf dem Klavier hat er sie mit dem Klavierspiel alle wahnsinnig machen wollen, sagte der Franz, denn kaum waren sie da, hat er ihnen Bach und HŠndel vorgespielt, solange bis sie wieder sein Klavierspiel in Kauf nehmen mŸssen...Immer nur Bach und bis zur Bewu§tlosigkeit.59 !!!!!!!!!!!!!!!!!
80 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 58 Thomas Bernhard und die Juden, 168. 59 wanted to drive them all crazy with his piano playing, for barely had they arrived and he started playing Bach and Handel for them, until they escaped into the open; but as soon as they were back they were once again confronted with his piano playingà always again Bach and Handel, Franz The Loser, 167. ! 74 His guests respond by trashing the lodge and harassing the local community. After then sending them abrup Gregor Hens, it seems three pianists are confronted by the Naziist der hei§e Brei, um den der Er60 Wertheimer, by dint of a mutual retreat into art (once again there is a missing 61 !!!!!!!!!!!!
81 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 60 Thomas Bernhards Trilogie der KŸnste, 77. 61 artistic genius, his narrative is said to exhibit aÃcontrapuntalizingà his relationship to his two colleagues. ! 75 remains open to using music as a form of expression toward or coming to terms with the past. But he eventually concedes tematische Zerstšrung der Musik62 ÃHauskonzertà is nothing less than an attem63 My contrasting reading of the narrator and WertheimerÃs position toward the Holocaust depends on finally clarifying GouldÃs own stance toward AustriaÃs wartime 64 character wh!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 62 Ibid., 77. 63 Ausdrucksmittel zu b
82 emŸhen, doch macht er sich statt de
emŸhen, doch macht er sich statt dessen an ihre Zerstšrung. Er scheitert an der MonstrositŠt der Geschichte wie an der Perfektion der Kunst.à (ÃAs a survivor, Wertheimer probably has the right to use art as a means of expression, but instead he sets about its destruction. He comes to grips on the monstrosity of history and on the perfection of art.Ã) Hensà remarks about BernhardÃs characters also lead him to direkte Auseinandersetzung mit der Tragik der Opfer, vermieden wird zugunsten einer ins Groteske ausweichenden Behandlung des Stoffs.treatement of the material that swerves evasively toward the grotesque.Ã), Ibi 64 historical consciousness, or for any coming to terms with the past, 78. ! 76 individual, totally free of doubts and uncertainties.Ã65 brash failure to r
83 eflect on AustriaÃs recent past and on
eflect on AustriaÃs recent past and on how Wertheimer might figure into it that Gould exhibits a bullish historical insensitivity to that past. This insensitivity is clearly on show during the villa scene discussed above, and it surely also manifests itself in GouldÃs christening of Wertheimer as ÃDer Untergeher.à The novelÃs English translator turns the eponymous neologism into the rather infelicitous Ãthe loser;à but the sobriquetÃs more literal translation as Ãthe one who goes underà calls to mind ÃThe Drowned and the Saved,à Primo LeviÃs famous account of his incarceration in Auschwitz.66 the narrator and Wertheimer by insisting on a musical identification that is absolute.67 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 65 The Nihilism of Thomas Bernhard: The Portray
84 al of Existential and S Ultimately, IÃm
al of Existential and S Ultimately, IÃm trying to argue that Gould gives Bernhard the freedom to portray music in a conflicted light. Gould is rude in both senses of the word, Ãder typische AmerikanerÃmomentarily overlooks GouldÃs Canadian provenance. 66 und die Geretteten.à 67 ÃGuldaà or a ÃBrendelÃ. These are two of AustriaÃs most famous postwar pianists, but unqualifizierten Lehren zugrunde gerichtetÃWerden Gulda oder Brendel und sind doch nichts (ÃÃare destroyed by their unqualified teachersÃbecome a Gulda or a Brendel Gilels und sind doch nichts.à Since Gilels was a Rseem to neutralize the argument I am trying to make. Nevertheless Bernhard seems to construct the sentence in such a way as to lend prominence to the two Austrian pianists Gulda and Brendel. One might deduct
85 this from the reception of this passage
this from the reception of this passage in the secondary literature. Pfabigan, in šsterreichisches Weltexperiment, quotes from the as a demonstration of the Ãapollinische Wahnà permeating the novel (301). However, he ! 77 I have argued in this chapter that Bernhard employs sound, more specifically the sound of music, as a monumental link to AustriaÃs National Socialist past. In Vor dem Ruhestand two unrepentant former Nazis who use music to first celebrate and commemorate reanimation of National Socialist sentiment. If my position has been that the Musikverein monu Earlier I quoted the Nazielaborate ideological program for BeethovenÃs Fifth, the symphony the Hplay at their party. composers but rather Bach and Handel, whose music he considered timeless and, in this sense, indestruct
86 able and befitting the 68 !!!!!!!!!!!!!!
able and befitting the 68 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! never cites the additional reference to Gilels. His uses of the quote emphasizes its character as an affront against AustriaÃs musical prowess. 68 hetic (awe) monumentality, Schering defined musical monumentality as follows: "Was wŸrdig ist, dauernd in der Erinnerung der Nachwelt festgehalten zu werden, dem setzt man ein Denkmal, ein Monument. Das kann immer nur ein Gro§es, Bedeutendes sein, von dem lebendig zu wirken und Augenblicke der Erhebung, des Stolzes, des Selbstbewus§tseins ! 78 very two composers whose music Wertheimehis final performance. Likely this is a coincidence, but it is the curi
87 ous historical affinity leads me to hear
ous historical affinity leads me to hear WertheimerÃs final concert as a grotesque anti69 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! zu schaffen vermag.à (memory significant, of which one can assume that the force of its contents will still be able in the most removed times to appear alive and capable of creating moments of eletion, of pri-Von Gro§en Meistern der Musik 69 and Andreas SchRuins of Modernity 2010), 1emphasizing as it does the ruinÃs confrontation with memory and the past, its inevitable aestheticization, and its seWertheimer apears to construct. For a recent attempt to write about ruins in respect to music see Abby Anderton, Music among the Ruins: Classical M
88 usic, Propaganda, and the American Agend
usic, Propaganda, and the American Agenda in Wes Michigan 2012. ! 79 Gebote, Vernetzungen, Vorschriften 1 Profil 2 as rational creatures is a himanufacturers of meaning. ! 80 JelinekÃs stated concern is with the exclusion of the woman as a corporeally circumscribed subject from the Ãmaleà sphere of the intellectual and the rational. This is a concern she has addressed over and over again in her literary works, albeit in a more differentiated and subtle way that her Profil appear to be on an all3 the above critique is the specific significance Jelinek appears to attach to JŸnger as a musician. As a composer JŸnger arguably stakes a claim as an exemplary Ãmanufacturer -logic of JelinekÃs argument, to assume that position as a female is to court the risk symbolically realized he
89 re Ãdescribe musical composition as Ãe
re Ãdescribe musical composition as Ãein Gebiet, aus dem die MŠnner der Kunst bisher am konsequentesten die Ã4 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 3 feminism that Lennox, in her reading of the critical reception of JelinekÃs literary predecessor Ingeborg Bachmann, has described under the catchphrase Ãall women always only victims of menà as prevelant in the 1980s. Cemetery of the Murdered Daughters: Feminism, History, and Ingeborg Bachmann in Die Klavierspielerin suggest. I maintain that JelinekÃs novel is feminist insofar as it confirms to AlcoffÃs litmus test for a feminist text, namely affirming rather than denying Ãour right and our ability to construc
90 t, and take responsibility for, our gend
t, and take responsibility for, our gendered identity, our politics, and our choices.à Linda Visible Identities, Race, Gender, and the Self (Oxfor odds with the drive toward self- feminists at the time. 4 Jelinek, ÃIm Namen des Vaters,à 153. ! 81 of music and gender? Is itdeliver a feminst critique? Surprisingly enough, the Jel 5 New York Times, February 28 1997. lets perspective of its controlling figures, by which I mean leading and influential composers, conductors, pedagouphold the notion, in wide circulation since at least the eighteenth century, of music as the most feminine of the arts. 6 Die Klavierspielerin, HšrstŸck auf Texte von Elfriede Jelinekà (SŸdwestfunk 1988). For a full list of musical adaptations of JelinekÃs work, see Marlies Janzà list, availabl
91 e at : http://www.geisteswissenschaften.
e at : http://www.geisteswissenschaften.fu- berlin.de/v/jelinek/primaerliteratur/vertonungen/ 7 may be surprising that the work of Elfriede Jelinek has been so little discussed with reference to music.à ÃÃOne must have tradition in oneself to hate it properlyÃ: Elfriede JelinekÃs Musicality,à Journal of Moder Powell and Bethman point to in support of their claim, notes something similar: ÃElfriede Jelinek und die Musik BezŸgen, die bislang weder aufgearbeitet und systematisiert noch dargelegt wurden.Elfriede Jelinek and music relations, which up till now have neither been worked through or expoundedà ÃElfriede Jelinek und die Musik: Versuch einer ersten Bestandsaufnahme,à SprGrenzgŠnge der Literatur, ed. Gerhard Melzer & Paul Pechmann (Graz: Sonderzahl, ! 82 than music (su
92 ch as Ãdas Beziehungen in der Familie,
ch as Ãdas Beziehungen in der Familie, Erotik und SexualitŠtÃ8), Munzar has recently accounted for the authorÃs stubborn musical preoccupation as follows: ÃMusik aber gehšrt untrennbar zum Leben der Jelinek, und es ist nur natŸrlich, Reservoir von Stoffen, Zitaten und Metaphern ist.9 inventory of the instruments Jelinek studied in her childhood and youth.10 as in the secondary literature on Bernhard and Jonke (semessage in any case remains clear: we should take stock of music in JelinekÃs oeuvre while being cautious not to !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 8 relationships, eroticism and sexuality.Ã 9 should, for her, form a reservoir of materials, quotations and metaphors.Ã Ji$’ Munzar,ÃElfriede Jelineks Musikerinnen und die BŸrger-Kunst u
93 nd Musik in der Literatur: €sthe, e
nd Musik in der Literatur: €sthe, ed. Roman Kopriva & Jaroslav Kovar (Vienna: Praesens, 2003),166. 10 flšte, Geige und Bratsche, spŠter vor allem vielen Werken von ihr.recorder, violin and viola, and later and above all, organ, and one notices this intensive musical engagement in many ! 83 way the narrator and the characters in the novel discuss and describe music? Or in the y perform and hear music? In what sense is gender produced in the historiography of music that weaves its way through the narrative? Moreover Brenda Bethman, Obscene Fantasies: Elfriede Jelinek's Generic Perversions (New ! 84 subject position assum 12 reference to Cusick is otherwise significant, as it signals my intent to work with a feminist musicology to develop my argument.13 Ultimately, we must addre
94 ss these questions against the backdrop
ss these questions against the backdrop of Vicity in which Die Klavierspielerin 14 JelinekÃs Ãportrayal of Austria is at once faithful and playfully exaggerated,Ã15 observe that musical activity is geographically overdetermined in the novel. Music, in Vienna, is a prime piece of cultural real estate, a Ãhei§umkŠmpfter Ortwants a piece of, if only gro§e Musikschšpfer!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 12 Analysis,à Suzanne Cusick states that ÃIf genthroughout a societyÃs discourse, it seems logical that gender metaphors are circulating in a societyÃs music, in the sounds composers choose, in the way people hear those sounds, and in the associations they make with tTheory, and the Mind/Body Problem.à Perspectives of New Music, 32 (1), 14. 13 uniform acco
95 unt of the social construction of gender
unt of the social construction of gender, Alistair generally agreed that the oppression and marginalization of women is embedded in we can reorient the reception histories on which such traditions are built and by doing so contribute to a reconstruction of gender, thereby widening the scope of both Constructing Musicology There is a sense in which Die Klavierspielerin, as I hope to show, undeproject. 14 see Johanna Gehmacher and Maria Mesner, Land der Sšhne: GeschlechterverhŠltnisse in der Zweiten Republik 15 The Rhetoric of National Dissent in Thomas Bernhard, Peter Handke, and Elfriede Jelinek ! 85 the master creaters of music.16 Musik,Ãfamous musical17 the question of whether JelinekÃs * Die Klavierspielerin 18 pianist Erika Kohut not only shares an apartment, but also a be
96 d, with her overbearing, !!!!!!!!!!!!!!!
d, with her overbearing, !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 16 Die Klavierspielerin All subsequent citations from the novel wi 17 Ã The English translation is Joachim NeugroschelÃs, see The Piano Teacher Nicolson: New York, 1988), 12. In theas the Austrian word for ÃzukŸnftig.Ã 18 sloping naked from right to left across the entire page. In place of the genitals are five conspicuously protruding piano keys, their relative size much bigger than the body they superimpose. We can assume that it is a visual depiction of Erika, although the simultaneously occluding and attracting presence of the keys both heightens and weakens our sense that this is a woman. The ambiguous image ably distills the fraught relationship between music and gender portrayed by the novel. The
97 piano keys both seems to occlude or mute
piano keys both seems to occlude or mute ErikaÃs body and phalluthe notion that music, as an art form explicitly coded masculine, is capable of doing violence to the female body. ! 86 landed in a mental institution en route to an early death. We read that Erika grew isolated from the outside world as she worked singleconcert pianist. A failed concert performance when it mattered most put paid to those t the prestigious Vienna Conservatory. Though she dutifully fulfills her teaching obligations r Klemmer. Long unable to imagine a life independent from her mother, who has -she engages in voyeurism. When Klemmer confronts Erika with his crudely sexual -when h ! 87 gojourney back to her apartment, where her mother is waiting for her. The novel ends * for something that might explain her unpun
98 ctual homecoming. She finds Ã[v]ier B&#![ctual homecoming. She finds Ã[v]ier B&#](844881/ctual-homecoming-she-finds-v-ier-b-138-n.jpg "ctual homecoming. She finds Ã[v]ier B&#")
ctual homecoming. She finds Ã[v]ier BŠnde rgen Raum mit einem neuen Kleid.Ã19 , sternly object(s) to sharing such an intimate space with a dress. Frau Kohut smartly determines that it is not ikaÃs life, thus destabilizing the cozy domestic arrangement the mother has worked manically to preserve. The dress is Ãcoded feminine,20 outwardly masculine domain. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 19 obviously brandThe Piano Teacher, 4. 20 The Piano Teacher, 4. ! 88 The passage appearthe composer, in this case Beethoven, and secondly in his scores. Beethoven, who has served musical scholarship as the ÃInbegriff des MŠnnlichen21 masculine22 speak to a nominal conception that ci * This opening scene might be productively read with the first appearance in the novel
99 of Klemmer, ErikaÃs sporty, virile, ag
of Klemmer, ErikaÃs sporty, virile, aggressive, and most talented pupil. We are at a ÃHauskonzertà hosted by a wealthy Viennese family of musical enthusiasts. The !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 21 Frau, Musik und MŠnnerherrschaft: Zum Ausschlu§ der Frau aus der deutschen MusikpŠdagogik, Musikwiss Main: Ullstein, 1981), 126. Rieger discusses the androgenous vocabularly that music scholars have often used to discuss BeethovenÃs music. 22 Text and Act: Essays on Music and Performance University of California Press, 1995), 185. ! 89 ÃPartiturensammlung,à a library of presumably historically important scores that are laid out next to the piano for inspection. The anachronistic setting is a suitable one for the contained exhibition of female musicality t
100 hat ensues, taking place as it does with
hat ensues, taking place as it does within nally been confined.23 colleague, of a Bach concerto for two keyboards. The narrator would have us believe schwebt mittels Kunst in hšLuftkorridoren und beinahe durch den €ther davon.24 anything sexy about this performance; but Klemmer has other ideas. Standing at the mustert mit von selbst erwachendem Hunger den unter dem Sitzteil abgeschnittenen Leib seiner Klavierlehrerin von hinten,25 off his disparaging thoughts about the assembled audience, he tries to keep his attention !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 23 Brenda Bethman to conclude that Ãwe can safely place KlemmerÃs desire for Erika within the literary and historical traditions of domestic piano playing as a source of visual pleasure for men. ÃObscene Fantasi
101 es:ÃElfriede JelinekÃs Generic Pervers
es:ÃElfriede JelinekÃs Generic Perversions, 87. Richard Leppert has explored (visual) representations of gender in domestic musical spaces in Northern Europe (mostly EnglanThe Sight of Sound: Music, Representation, and the History of the Body California Press, 1993), esp. chpt. 4 ÃSocial Order and the Domestic Consumption of Music (The Politics of Sound in the Policing of Ge), 63Katharina Herwig. "Die Frau am Klavier: Untersuchung zum Weiterwirken eines bŸrgerlichen Ideals." Geschlechtsspezifische Aspekte des Musiklernens, ed. Hermann J. Kaiser (Essen: Blaue Eule, 1996), 14524 The Piano Teacher, 62. 25 is cut off from the stoolÃÃ Ibid., 62. ! 90 Klemmer's mental assessment of Erika's 26 beseeches his teacher to obey him some day. He masturbates in his seat. One of his hands invo
102 luntarily twitches on the dreadful weapo
luntarily twitches on the dreadful weapon of his genital. ! 91 what we learn about her practicing her instrument as a child, namely that it is sufficient that she produce even the most rudimentary of sounds, Ãdenn das ist das Zeichen dafŸr gestiegen und der Kšrper als HŸlle untengeblieben ist27 dressing with more appeal: ÃJung u28 would approve of Erika making use of the closet of clothedestinely returns in the middle of the night. * The above image Ãbodiless Erika fusing with her art. In the language of JelinekÃs Profil at the beginning of this chapter, ErikaÃinterpreted by the male mind ÃAs she puts it, the Ãcomposer has come to be understood to be mind mind !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 27 spheres, while leaving her body down below as a dead
103 frame.Ã Ibid., 35. 28 ! 92 pattern
frame.Ã Ibid., 35. 28 ! 92 patterns of sounds to which other minds 29 conjured up by the musical masters presence in the novel: they provide an occasion for spiritual elevation and want nothing informs us, as a dead shell and has nothing to contribute to her musical performance.30 Things are very different for Klemmer, however, insofar as he appears in this scene as a musical subject. Nominally, Erika and Klemmer are musical ÃKenner,Ã 31 conversation during the interval !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 29 30 opening scene is that they will draw bodily attention to Erika, which is an outcome incompatible with her musical persona. 31 -The influential m†ber die Gšttingen: Verlag der Wittwe Vandenhšck, 1777). See also Yonatan Bar-ÃKenner und Liebha
104 ber Another Look.Ã IRASM ! 93 takes
ber Another Look.Ã IRASM ! 93 takes pleasure in the unfolding of musical structures.32 Klemmer to partake of musidifferent musical experience. To read that Klemmer Ãhat eine Nebensicht, nebst Musik, die er jetzt zuende denkt33 KlemmerÃs mental meanderings and corporeal excess, acts as a facilitator, a conduit Schwingungen aus der Musik herauszuhšren, die ihm seine Lehrerin begehrenswert macht.!34 That it has to do here with something more sinister than a general erotics of music is a point to which we will return. * !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 32 Aesthetic Theory, ed. Gretel Adorno and Rolf Tiedemann, trans. C. Lenhardt (London: Routledge and Keagan Paul, 1984). Adorno unfolds this typology in his first chapter. 33 along with music; 34 that make his teac
105 her desirable to him.Ã Ria Endres, ÃEi
her desirable to him.à Ria Endres, ÃEin Musikalisches Opfer.à Spiegel, 23 (1983), 174. ! 94 Erika, it is frequently claimed, assumes the (phallic) role that her father relinquishes.35 removed, we soon discover, to a mental institution immediately following ErikaÃs birth: Ã36 hich this observation is embedded suggests, however, that music, under the authority of Beethoven and his sonatas, We can examine this idea further with reference to a visit Erika makes to a peep show !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 35 anzueignen. Erika wird nicht zur ÃFrauÃ, sondern zu ÃHerrin.à Es gelingt ihr nicht, sich Ãweiblichà zu identifizieren, sondern aufgrundÃihrer eigenen Versuche, sich selbst den fehlenden Vater zu ersetzen, mu§ sie auf dem Weg zur psychischen ÃWeiblich
106 keità incorporating the paternal phallu
keità incorporating the paternal phallus. Erika doesnÃt become a woman but rather a mistress. She doesnÃt succeed in identifying as a female, rather through her own attempts to developing a psychological femininity.Ã) Marlies Janz, Elfriede Jelinek Stuttgart, 1995,) 75. See also Karl Ivan Solibakke, who notes that Erika Ãis fitted with father within the political unit of the family,à ÃMusical Discourse in Elfriede JelinekÃs Die Klavierspielerin,à Elfriede Jelinek: Writing Woman, Nation, and Identity, ed. Matthias Piccolruaz Konzett and Margarete Lamb-Dickinson University Press, 2007), 259. 36 .à The Piano Teacher, 3. ! 95 predominance. When Erika departs from the conservatory we read that her "begleitet Begleitung.my emphasis)37 departing from the conservatory, the ErikaÃs arating
107 the splendid conservatory from the dingy
the splendid conservatory from the dingy peep show: "brauchtAt the same time, thedescriptive slippage in the narrative; the first sign is the detail of a quotidian street quarrel involving a ÃDiskantà winning out over a ÃBariton.Ã38 employed to effect a gap betwe!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 37 wail of a single violin; everything bursts through the windows at the same time.à Ibid., 44. 38 instrumental music, is meant to stand out and draw some attention to itself. ! 96 styled as TannhŠuser, seeking entry by knocking at the door with his ÃStab.39 the building a composed employee ushers Erika, her briefcase Ãvoll Noten,à Ãagain the obtrusion of tshe feeds coins, held Ãgriffbereit wie di40 on stage. Here, the erotic dancer (violin) encircled by a male
108 clientele (trombones and horns) busily O
clientele (trombones and horns) busily On the surface, the sequence just described seems, in every sense of the term, profoundly unmusical. Yet as we have just read, music remains a vital discursive from its usual referents, Jelinek invites us to link ErikaÃs sexual deviancy to the dogged emmer the (musically) titillated audience member. (Though behaviourally inconspicuous, ErikaÃs s chamber music concert. To say this is to simultaneously recognize that the female erotic !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 39 TannhŠuser. Frau, Muund MŠnnerherrschaft, 160tempered by his fear of becoming enslaved to her Ãof enemy. 40 ThTeacher, 52. ! 97 performer is ErikaÃs stage analog who conducive to the performance of Ãfemininityà Ãbearing down upon Erika. In this trans
109 formed setting, Erika is no longer the s
formed setting, Erika is no longer the soloist. being the German word for, among other thinErika auf dem Konzertpodium nicht erbracht hat, das erbringen jetzt andere Damen an ihrer Stelle.(68)41 wholly unaroused. * The reading I am providing here suggests that Die Klavierspielerin itself foremost with musical elaborations of gender. It is important to Jelinek widens the scope of that concern by also allowing the Land of Music discourse to circulate proactively with class and race, thereby allowing them to emerge, like gender, as musically mediated categories of identity.42 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 41 Ibid., 53. 42 functions as a touchstone for others. It is logically itransform it from axiom to object of scrutiny and critical term Ãinterrogating race and cla
110 ss.Ã "Gender," Critical Terms for Liter
ss.à "Gender," Critical Terms for Literary Study, ed. Frank ! 98 apparent in the novel. Realizing the symbolic value of music, Frau Kohut Ãotherwise takes little aesthetic pleasure in music Ãmusical aspirations on the younh Erika. She does this in the recognition that the successful performance of music in Austria narrow and a broad sense Ermusical power along an axis of race. The districtÃs status as a musical part of the city is jukebox. Elsewhere in the novel a particularly uncomplimentary account is given of the es of the ever more ÃAuslŠnderà or ons of the Land of Music discourse. Austria upholds its musical claims, in part, by * !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
111 !!!!!!!!!!!!!!!! Lentricchia and Thomas
!!!!!!!!!!!!!!!! Lentricchia and Thomas McLaughlin (Chicago and London: Press, 1990), 272. ! 99 Die KlavierspielerinÃs narrator disposes over a considerable arsenal of linguistic weaponary (Beatrice Hanssen speaks of a wholesale deployment of Ãmetathesis, homonyms, puns, neologisms, lexical sliding, and parataxis,Ã43). The narratorÃs Ãperformanceà constitutes a linguistic event which, in its own right, rivals the most virtuosic of musical performances, and it might be asked whether this linguistic virtuosity poses a covert challenge to musicÃs role as a Ãand elsewhere ieces are then reinserted into highly incongruous settings 44 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 43 Critique of Violence: Between Poststructuralism and Critical Theory pornographic language likewi
112 se is put to the service of a higher fun
se is put to the service of a higher function: ideology critique. Yet her work goes at least one step further when it exposes the metalanguage point where philosophical and cultural traditions church and family, AustriaÃs venerable music culture, or GermanyÃs philosophy of 44 197. I submit that JelinekÃs reconstituted and redistributed musical references function word for Ãstumbling block,à but the term has also comemorials for victims of Nazism designed by the German artist Gunter Demnig, who has placed thousands of them them in vacated pavement colbestones in Germany, Austria and throughout Europe. In the case of Die Klavierspielerin, I take the reference to National Socialism to be far more latent (although not entirely absent). The concept of ÃStolpersteineà is mentioned in connec
113 tion with Jeilnek by Gerhard Fuchs. ÃÃ
tion with Jeilnek by Gerhard Fuchs. ÃÃMusik ! 100 facilitates this process further by having the authorial view shift rapidly between a limited firsting freely herself from their inflated musical vocabulary. Although there is much artifice involved in this narrative strategy, I do not Ansatzlos flieProgrammtexten von philharmonischen Konzerten in die Handlung ein, dazwischen das 45 In a chapter on Michael HaneckeÃs film adaptation of JelinekÃs novel, Brigitte Peucker !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ist jar der allergršÂ§te Un173. 45 flow smoothly into the storyline; here and there also the intermission chatter from the opera foyer.Programmheften und
114 Booklets immer bei Jelinek werden sie sp
Booklets immer bei Jelinek werden sie sprachlich einer Verfahrensweise unterworfen, die den škonomischen und sexuellen Gehalt blo§stellt. (Ãfrom program booklets belong to the most amusing passages in the novel.Ã) Elfriede Jelinek und die Musikerinnen, 176 ! 101 store. Peucker implies that the disjunctive effect Hanecke creates is an innovation of his, but the technique, as I have showed above, is clearly of JelinekÃs devising. Peucker, yà and the Ãbarely representable real of pornography.Ã46 Jelinek might be aiming at with this juxtaposition, I want to consider the theme of musical genius that runs through the novel. * Jelinek notes in an inter47 In Clara S. Musikalische Trag, a play she published a year before , Vittoriale degli italiani,!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
115 !!!!!!!!!!!!!!!!! 46 The Material Image:
!!!!!!!!!!!!!!!!! 46 The Material Image: Art and the Real in Film. Stanford: Stanford University Press, 2007, 157. Incidethat Hanecke omits the novelÃs, that is to say JelinekÃs Ãfeminist thrust and, notably, its critique of high culture,Ã The Material Image, 149. 47 Elfriede Jelinek und die Musikerinnen, 173. On the importance of the genius discourse for Nazi Germany, see Rieger, Frau, Musik und MŠnnerherrschaft, 108 ! 102 compose.48 production is not found within some ethereal arena of inspiration, but rather within a realm of messy und unsavory domesticity striated by inequality and sexual subjugation. -49 The nonÃdurch und durch; bei ihm!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 48 dÃAnnunzio (who goes by the pompous name CommandanteÃ). She largely achieves this
116 by reminding him of the artistic gap tha
by reminding him of the artistic gap that exists between him and her Ãgeniusà husband. At the same time, ClaraÃs deification of Robert is continually undercut by her resentment at having been required to cloister her own artistic abilities in deference to his musical career: Robert, we learn, refused to review ClaraÃs piano concerto in his Neue Zeitschrift fŸr Musik,now reduced to a bare minimum, Clara is notescalates in part two of the play, when Robert appears on stage for the first time, clearly in the final throes of the mental illness thacomes with Clara suffocating Robert on stage. Thus the play can also be read as a clear commentary on the historical exclusion of women from the material sphere of musical production. 49 century as a solemn event, Rieger apprehends a transfer Ãce
117 ntury who, in her chapter ÃAfter 1800:
ntury who, in her chapter ÃAfter 1800: The Beethoven Paradigm,à describes the God-terms in which composers were often described (Clarendon Press: Oxford, 1992), 205Beethoven Hero (Princeton, NJ: Princeton University Press, 1995). ! 103 to understand that Bach's à 50ÃBach was a man sickly, everything is written for eternity.à Cited in Rieger, Frau, Musik und MŠnnerherrschaft, 127. 51 closely on the way to their music., 952 draws the reins gently.à The Piano Teacher, 100. ! 104 Bach's mastery (Ãkšnnen), sum 53 the other contrapuntal busin 54 challenges SchlipphackeÃs claim that ÃErikaÃs conception is represented as the only moment of sexual desire in the text.à Nostalg, 88. 55 Enyclopedia of Music, vol. I, published by the Austrian State, even trumps Erika by crowing
118 that BachÃs works are a commitment to t
that BachÃs works are a commitment to the special The Piano Teacher, 1 ! 105 y. Erika's emphasis on the mechanism of If the overflow of Jelinek's language (encourages?) an interpretation whereby this language of sex 56 Feminine Endings: Music, Gender and Sexuality University of Minnesota Press, 1991), particularly chapters 1 and 4. ! 106 Erika's comments on Bach prepare the way for the critique of another composer 57 so widely thoughtpersonality.Ã Music and Society: The Politics of Composition, Performance and Reception, ed. Richard Leppert and Susan McClary (CambridgMcClary describes how Bach was often able to given the impression in his music of having reconciled styles (such as the Ãonconcerto with the more soberepertory and the motionconflicting and therefore potentially charged wh
119 en amalgamated. ! 107 the thread o
en amalgamated. ! 107 the thread of Erika's thought by venturing the opinion that "Die Frauen 58 wanderers take their pleasures wrong, nothing that would make others shrink away from her. Using the binoculars, she scours the area for couples, from whom others shrinkThe Piano Teacher, 141. 59 Schubert and Women. A dark chapter in the porno mag of art.Ã Ibid., 186. 60 bid., 187. ! 108 responsibility for his conduct away from Schubert: he was ugly and unloved, thinks Erika, and didnÃt have it easy in the world of romance as the slickly smooth Klemmer does. Klemmer proceeds a step further by saying out loud that women killed Schubert 61 having considered Schubert in a sexual context in the first place, for it is really the case, die Niederungen des Geschlechts.Ã62 biographies are ofte
120 n full of details about the sexual lives
n full of details about the sexual lives of their protagonists, thereby 63 just occurred, the self-when one considers that these amended ideas were placed in ErikaÃs head by her What seems to be clear about this scene is that, catalyzed by the circumstances of her own relationship with Klemmer !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 61 Elizabeth Norman McKay, Franz Schubert: A Biography 1996), 129, 319. 62 The Piano Teacher, 197. 63 re harmony grows upon the compost heap of sex.Ã Ibid., 197. ! 109 shows Vienna's music culture to be sustained by ! 110 novel's protagonist, the eponymous pianist Erika Kohut. ÃHer female body,Ã as Konzett sense in which Erika's identification with music is so complete that she, as a female as a patriarchal form to engage in a number of 'p
121 erverted' sexual practices. There 64 Th
erverted' sexual practices. There 64 The Rhetoric of National Dissent, 120. ! 111 remains a sense, then, in which her ambiguous musical identification functions as both the cause and the result of her perversion. At the same time, if music disembodies Erika, depriving her of her capacities as a desiring subject, it is arguable that Jelinek createsErikanarrow form of femininity that is otherwise avaIn other words, we get a glimpse here * Jelinek has more thanand over in her literary works, with writing about AustriaÃs National Socialist past. As she has put it: ÃMann nimmt Erde, und sie zerfŠllt zu Asche in der Hand. Das ist ja mein 65 As Konzett has correctly noted, however, this is an obsession that plays out indirectly, -Austrian societ!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
122 !!!!!!!!!!!!! 65 therefore have the feel
!!!!!!!!!!!!! 65 therefore have the feeling that I have to bear witness to it.Ã Cited in Schlipphacke, Nostalgia after Nazism, 252 ! 112 ry predecessor Ingeborg Bachmann, reads as a form of everyday fascism. 66 ,Ã Elfriede Jelinek: Writing Woman, Nation, and Idenity: A Critical Anthology (Madison: Fairleigh Dickinson University Pre!!67 Die Klavierspielerin.Ã Elfriede Jelinek: Writing Woman, Nation, and Identity. Ed. Matthias Piccolruaz Konzett and Margarete Lamb2007, 250. $%!In an 1984 essay tellingly titled Der Krieg mit anderen Mitteln, Jelinek, facsimileing formulations from her Profil piece,die erste Frau der Nachkriegsliteratur des deutschsprachigen Raumes, diedas Weiterwirken des Krieges, der Folter, der Vernichtung in der Gesellschaft, in den ! 113 novel, in other words, might be
123 seen to posit a structural parallel betw
seen to posit a structural parallel between the relationship obtaining between Erika and her musical masters with relationships that !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ./0()(/!1"--(2/34!3!(056!7 /!=;&#x"0/0;8)"5-"/(!*95:8(2!./0!;/+(!(( ! 114 Kein Land der Neuen Musik: Gert Jonke and Postwar AustriaÃs Sounds and 1 Ulrich Schšnherr, Sprachmusik: GrenzgŠnger der Literatur, ed. Gerhard Melzer and Paul Pechmann (Graz: Sonderzahl, 2003), 119. ! 115 , for example, recounts a party hosted by the ÃTranslator's Introduction,Ã Gert Jonke, ! 116 words of one observer, Jonke is a 4 around withoperating in the world has been neglected in the Jonke schola
124 rship at the expense of narrower and mor
rship at the expense of narrower and more philosophical concerns with music and language. In the final chapter of his booGerman on Jonke to date relationship between music and language in Jonke, focussing initially on JonkeÃs remarks on the top†berschallgeschwindigkeit. See Das Unendliche Altern der Moderne. Untersuchungen zur Romantrilogie Gert Jonkes 1994) For Schšnherr, German Romantics. According to Schšnherr, Jonke does not join the Romantics in privileging music above language. Rather he proclaims both music and language capable of producing an aesthetic surplus that can exert an influence on the recipient. Jonke advances a technical explanation for this subjective aesthetic experience. As language are concerned, is a negative one proceeding from their presumed mutual de
125 ficiency to fully carry meaning, althoug
ficiency to fully carry meaning, although Jonke is careful to distinguish between the Schšnherr sees Jonke distinguishing further bwhich stand in tension to one another: the acoustic representation of Ãdes schriftlich Notiertenà and the immanent motivicthe notation. This is a discrepancy that canÃt be overcome: Schšnherr here cites JonkeÃs claim that every form of musical reproduction (Musikwiedergabe) is a form of musical notation. In what Schšnherr calls an Ãaporethis a step further by claiming that no composer has ever succeeded in producing the musical score that Ãheà worked on in his imagination (Vorstellung). At the end of this account, we are left with pure musical unintelligibility that removes itself from all attempts at representation but which, at the same time,
126 forms the finality of all exertions musi
forms the finality of all exertions musical and ordinary languageine immaterielle, transzendente Dimension verweist, die nur mehr als ãStilleà und ãSchweigenà namhaft gemacht werden kann.à providing this background is to prepare t ! 117 JonkeÃs pen almost always finds its way to music. A kind of musical excess attaches itself to his work, aand every of his titles to music. Kling is not alone in suggesting that Jonke, despite 5 therefore extremely high, JonkeÃs apparent verbalism has led commentators to assume 6 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! music in JonkeÃs trilogy, which is to say that he remains wholly uninterested in JonkeÃs critique of musical Austria
127 in which Jonke embeds his account of Ne
in which Jonke embeds his account of New Music. It is in this public realm where I ultimately 5 6 facilitates the use of musical composition principles in his texts.%k Mare&ek, ÃÃÃkein Grund, die ZŸgel locker Chorphantasie von Gert Jonke und ihrem Ort im Kontext seines Werkes, Kunst und Musik in der Literatur: €sthetische Wechselbeziehungen in der , ed., Ro(Vienna: Praesens, 2005), 23. &ek, however, adds a warning about overestimating the extent to which JonkeÃs prose is actually structured by music. ! 118 In my introduction I noted that Austrian literature had by the decade central to this dissertation, the 1980s, finally loosened itself conclusively from the grip of ahistoricity, and t-Jš-social traditionalism, [and] reactionary politicsà Ã7 The capital of Sty8 peri
128 od, starting with his debut novel Geomet
od, starting with his debut novel Geometrischer Heimatroman -and quite deliberately so.9 the pieces as Ãlanguage doodling.à Speaking on behalf of literary scholars who, by the !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ution? Am Beispiel der ÃGrazer Schlu§ mit dem Abendland!: Der lange Atem der Village: Contexts for Reading Gert Jonke's Geometric Regional Novel.à ! 119 early 90s, were attuned to reading contemporary Austrian literature through the lens of recent history, !wiat"owskideclaring (in an ironically convoluted formulation) that Ãdie Wortspiele selbstgenŸgsam entwerfenden Sprach-von der Art eines Gert JonkeÃist vorbe10 This chapter, however, attempts to
129 liberate Jonke from the charge of exces
liberate Jonke from the charge of excessive and worldÃand here we can return to the Webern passage from Geblendeter Augenblick this chapter opened verheimlichte Kontinente †berschallgeschwindigkeit der Musik, which Geblendeter Augenblick Stoffgewitter. Later in the chapter I will turn to the portrayal of music in JonkeÃs play Chorphantasie (2003), which I propose reading with the assistance of the -operationalizes the term New Music will emerge as the chapter proceeds; but it is ul to observe that the Second Viennese School, which we associate with the music of Arnold Schoenberg and his two students, Alban Berg and Anton Webern, !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 10 their own language games) in the manner of Gert Jone are past.Ã !wiat"owski, ÃDas Identische
130 und das Nichtidentische. Zum Wesen der &
und das Nichtidentische. Zum Wesen der šsterreichischen Literatur (und des …sterreichischen)Nationale IdentitŠt: Aspekte, Probleme und Kontroversen in der deutschsprachigen Literatur, eds. Joanna Jab"kowska and Ma"gorzata P—"rola. (Wydaw: Uniwersytetu #—dzkiego, 1998), 315. ! 120 forms the centifugal point around which JonkeÃs remarks in the above two essays revolve. Verheimlichte Kontinente, Schoenberg, Berg, and -erachtet und erkannt Ã11 known that these three composers adopted the soEmanzipation der Dissonanz12 composer abandons tonality by first organizing all twelve notes of the tempered scale od.13 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! See Schoenberg's essay ÃKomposition mit zwšlf Tšnen.Ã whose material reaches ! 121 The read
131 ing that follows postwar AustriaÃs wart
ing that follows postwar AustriaÃs wartime past. which we can readily identify as the ÃLand of Musicà Ãcriticism through a distinction he draws between music and New Music. JonkeÃs -Aount of New Music upon which the critique is based. * Part discursive, part poetic, part inspired musicology, JonkeÃs essays verheimlichte Kontinenteand †berschallgeschwindigkeit der Musik !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! developing the expressive potential that SchoenbergÃs twelve-grant him ! 122 Vincent Kling has usefully suggested approaching both pieces as Ãprose essays.à One benefit of concentrating on these essays as opposed to, say, JonkeÃs loose trilogy of nove
132 ls published between 1979 and 198314 for
ls published between 1979 and 198314 form of social engagement, one that is more clearly grounded in JonkeÃs concerns with 15 Verheimlichte Ko ranging and eclectic appreciation of Alban Berg. In that essay, Jonke recalls being told Hochzeit 16 apocryphal, Berg, who died in freakish circumstances at age fifty, never wrote any such !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 14 Schule der Gel Ferne Klang Erwachen zum gro§en Schlafkrieg Residenz, 1982). 15 that he espies in all of JonkeÃs texts Ãis particularly noticeable in JonkeÃs ÃessayistiscGeorg Pichler, ÃPolitische Elemente im Werk Gert Jonkes,à Die Aufhebung der Schwerkraft: Zu Gert Jonkes Poesie, ed. Klaus Amann (Vie94. scholars such as Schšnherr or Ulrich Gamper, who attempts to write about Jonke in national, tha
133 t is to say Aust adŠquates Beschrei
t is to say Aust adŠquates Beschreibungsmodell.Ã (ÃÃnot an adequate model of description.Ã) Das Unendliche Altern der Moderne. Untersuchungen zur Romantrilogie Gert Jonkes. Vienna: Passagen Verlag, 1994, 19. account is itself demonstrably rich in direct social content. 16 Das Augesnspiel Woyzeck had likewise inDie Hochzeit, although there is no direct connection -qualities of BŸchnerÃs characters, who only exist through their attacks on WoyzeckThe Memoirs of Eli ! 123 opera. Taking full advantage of these circumstances, Jonke ruminates rhapsodically on how the opera might have sounded. He imagines a key moment in which the piece, by sliding into a kind of self-with what Jonke elaborately terms the society 17 capacity to unmask and denounce that societyÃs degeneration int
134 o a .18 In confecting these extraordinar
o a .18 In confecting these extraordinary neologisms, and in suggesting that they are the product of BergÃs music, Jonke hears Berg articulating a social critique. Moreover, it is a musical critique of society that is self-by taking music itself as its own object. Th-19 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 17 - The translation is Vincent KlingÃs, see Gert Jonke, Review of Contemporary Fiction D%!waltzaccursedbanalizingsentimentalcutesy-ÃContents Kept Hidden,Ã 83. !19 -specter of poverty to travel through Austria putting his activities as a composer on hold. For a more nuanced view of the function of ! 124 the Webern novella further remarks that when the Viennese of WebernÃs time referred to their city as the ÃWelthauptstadt der Musikden sogenannten Wiener Walzer,Ã
135 20 MetternichMusik.ted with excessive c
20 MetternichMusik.ted with excessive conservatism and repressive censorship.21 metaphor is a particulary jarring one that strips the waltz of its light and breezy * This Metternich reference also demonstrates JonkeÃs ahistorical epochs and helps underscore a crucial point about his Berg essay: although it today: Ãand still has today.Ã22 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! the Viennese operetta see Stefan M. Schmidl, ÃDie vielen IdentitŠten: Untersuchungen zur Funktion der Wiener Operette,Ã Studien z 20 21 artifacts such as SchubertÃs spittoon and chamber point, which are duly pressed into service as a herbal tea mug or salad bowl respectively, is enough (
136 in Austria) to qualify its owner as Ãmu
in Austria) to qualify its owner as Ãmusical.Ã 22 ! 125 relationship seems to obtain between social and musical organization, and it is indeed possible to extract from his essays a critique of Austria as the ÃLand of Music.Ã Note that this criticism is already latent in some of his earlier work. The passage from Schule der GelŠufigkeit 23 the Vienna music conservatory. Without quite knowing how they got there, the brothers Der Untergeher) the instrumnot to see the music conservatoryÃs attic as 24 also like to place special emphasis on the musical weighting in JonkeÃs story. The 111 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 23 See Opus 111: Ein KlavierstŸck 24 ! 126 cannon (we only need to think of the importance that Thomas Mann, writing through AdornDr. F
137 austus). The image of ascending to the m
austus). The image of ascending to the musical gradus ad parnassum, in which the story is recounte25 Jonke, then, is inflating AustriaÃs image of itself as a profoundly musical nation, then he goes some way to deconstructing that same image by unlocking its underlying Jonke initiates a direct critique of the present-†berschallgeschwindigkeit, an essay which contains his most detailed description of the rebukes contemporary conductors who, Ãje Šlter und verklŠrter sie werden, desto intensiver ar26 implied in theZentralfriedhof, where the composers responsible for these masterpieces ÃBrahms, Schuber!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 25 Fux, Clementi and 26 their different sound studios and concert halls on nothing else than their acoustic mausoleums, whose
138 completion they pursue to the point of
completion they pursue to the point of exhaustion.à ! 127 argumentative perspective of this study, a form of monumentality would appear aptly descriptive of postw-der Musik,à has moved to a soundtrack wholly biased toward what Andreas Huyssen 27 That Jonke is canvassing in †berschallgeschwindigkeit century music becomes clearer when, in a kind of imaginative plea, he envisions the . Further, Jonke fantasizes about these public intercourses yielding to an à (90)28 responding to the performances as if they were hearing or noticing both for the first with which it was first greeted by the Vienna musical public.(90) It is in this sense that For the time being, says Jonthe distant past is killing their very appeal. If we are to remain attached to the !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
139 !!!!!!!!!!!!!!!!!!!! 27Andreas Huyssen,
!!!!!!!!!!!!!!!!!!!! 27Andreas Huyssen, ÃMonumental Seduction,Ã 190. 28 ! 128 ÃÃ29 mean the pathologizing practicemasterpieces n Neui30 being exuberantly clever here (in rearranging the name of MozartÃs opera Zauberflšte into the formulation ÃZaubermonitoring of AustriaÃs music culture, the i-reference to Metternich) on the close proximity in Austria of music and politics.31 * We have begun to perceive that JonkeÃs (emerging) critique of Austria as the Land of Music is leveraged by a distinction he draws between music of different eras. mean something to the extent that it continues to reveal and refresh itself in the music of !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 29 30 on the occassion of the anniversary of what the bureau of statistics tells us is exactl
140 y the millionth new production. ! 129
y the millionth new production. ! 129 eclecticism. In trying to be more precise about what he meant by music, the musicologist Hans Heinrich Eggebrecht once suggested working with the following terminological triad: Alte Musik 32 which Eggebrecht was roughly using to refer to the music of the long (namely from Haydn, Mozart and Beethoven all the way to Brahms, Mahler and usicà into a critical relationship, by which I mean that his criticism of contemporary AustriaÃs It is implicit in Jomusical proclamations paradoxically announce it as Ãkein Land der neuen MusikAustrian musicologist Gertraud Cerha (herself the wife of AustriaÃs most well!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ? (Wilhemshaven: ! 130 musical life.Ã33 commentators.34 From one perspective, the necould be s
141 aid to have a cultural home, then that h
aid to have a cultural home, then that home was Austria. Schoenberg, Berg, and Webern played an instrumental role in the 1922 founding in Salzburg of the 35 * It could be claimed , however, that New Music brought this reception upon itself. As Alex Ross reports in The, Schoenberg especially was not very !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! n? Zur Rezeption zeitgenšssiche Musik im ! 131 interested in cultivating an audience, and seemed to take a kind of dark pleasure in composing music that would be perceived as discomforting.36 postwar Austria (as the self-complaint that New Music just sounded bad can only, at most, be partially valid. In a Those observations call to mind an essay Theodor Adorno wrote in 19637 demonstrates his insistence on hearing music through the
142 filter of recent (German) history. As
filter of recent (German) history. As he saw it, New Music middle term Ãwrongness also has to do with a failure of society to recognize that wrongness as something -. Worse, as Adorno further points out, most people immediately !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 36 The Rest is Noise 37 Livingstone (London & New York), 2011. ! 132 disqualify New Music, experiencing it as something that departs from their fixed notions of what constitutes music. If we transfer these thoughts to the Land of Muexclusion of New Music less surprising. Here was a musical school that had been atonale KlangfŠkalien und KakophonieGeblendeter .38 confronting the recent past, which many in Austria were not interested in doing. The 39 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
143 38 Gert Jonke, Stof, subsequent referen
38 Gert Jonke, Stof, subsequent references to JonkeÃs three Stoffgewitter body of the text. 39 victim myth and the resurrection of Austria, waproduction of significant works which supposedly pointed to a glorious tradition lying ! 133 The emphasis on a particular musical tof thinking that wanted nothing to do with the recent past. Writing in a different context 40 In my secoHeldenplatz and Untergeher , reminding Austrians wherever its music sounded of !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 248. The preoccupation (fetish?) with a distinct Viennese ÃKlangstilà is a ! 134 in back or develop this vital exploratory capacity? à 41 -go the entire cosmos in infinitel
144 y many variations and in compressed form
y many variations and in compressed form,à Continents Kept Hidden, 81. What Jonke diagnoses as the contemporary human condition at the beginning of †berschallgeschwindigkeit, namely tpotential in structurally to JonkeÃs later description of vertical music. ! 135 unbekannt gebliebene, Ÿberhšrte oder Ãverhšrteà (unerhšrte) Musik.Ã(73)42 precisely in mind hereand Berg, who, as he puts it in †berschallgeschwindigkeit * twentieth century saw the riseAusbreitung von Klangsystem43 Jonke, proceeds at the spe!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 42 yunheard43 ! 136 phenomenon, music, Jonke maintains, starts to move beyond the speed of sound, at à one of the first ever pieces that was.44 Webern who was the most vertical of composers: his blink-
145 --pieces are Ãmusikalisch mikroskopisch
--pieces are Ãmusikalisch mikroskopisch akustÃ45 ThereÃs so much compressionDurchfŸhrungà instant through the use of overlaid chordal fragments Ãexperience that WebernÃs pieces are continuing to unfold long after they are over. A complimentary impression is of sounds sparsely constructed merely for the purpose of !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 44 45 46 idiosyncratic but not musicologically deviant. The American music critic Alex Ross, for example, has made note of the Ãimpulse to go to the brink of nothingnessà that is central to WebernÃs aesthetic, and described his music as one that Ãhangs in the limbo between Ross also aligns WebernÃs fixation on silence with a wider, linguistically-siecle Vienna The Rest is Noise, 63. ! 137 The musical aesthe
146 tic that Jonke endorses here is one that
tic that Jonke endorses here is one that eschewed monumentality and permanence, favoring instead shorter forms that tended Ãacutely ears is preoccupied with stillness and silence, even to the point where musical sound might paradoxically qualify as silence. At the same time Jonke promotes sound Ãmusical sound ty of music to model a form of silence for us. More specifically, musical sound is said to somehow nts it threatens to become a kind of nonalancing on the edge dividing silence from sound. And it leads us to the music at the center of JonkeÃs Chorphantasie, which I think can be read productively in conjunction with Stoffgewitter 47 * !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 47 Chorphantasie: Konzert fŸr Dirigent auf der Suche nach dem Orchester (Literaturverlag Dro
147 schl, 2003). The tile refers to Beethove
schl, 2003). The tile refers to Beethovens Choral Fantasy, a showpiece for piano, orchestra and choir that Beethoven wrote for the 1808 benefit concert at which his Fifth and Sixth Symphonies were premiered. All subsequent quotations will be made in the main body of the text. ! 138 ChorphantasieÃs subtitle KOrchesterÃarranged for an orchestra whose members are absent. An encroaching flood has delayed silence, mediated through his essayistic encounter with Ttalking. But by no means are his remarks restricted to the piece at hand: rather, they -narrati-station. When the headphones precipitate a debilitating virus (which, moving from its ! 139 for its fixation with acoustic mausoleums, emerges 48 49 Alte Meister embittered music critic Reger to remark: ÃDas Musikhšren ist nichts Au
148 §ergewšhnliches mehr, Ÿberall
§ergewšhnliches mehr, Ÿberall hšren Sie heute Musik, gleich wo Sie sich Sie sind geradezu gezwungen, Musik zu hšren, in jedem Kaufhaus, in jeder Arztordination, auf jeder Stra§e, Sie kšnnen heute der Musik gar nicht mehr entkommen, Sie wollen ihr entfliehen, aber Sie kšnnen ihr nicht entfliehen, dieses Zeitalter istotale Musik ausgebrochen, Ÿberall zwischen Nordpol und SŸdpol mŸssen Sie sie hšren... ! 140 Importadistortions. When, in the first stage of the musical inundation, the transmission occurs through the headphones, the music is said to encourage a smallness of thinking and to -crippling virus that follows is not the fault of the headphones; rather the virus is said to d ihrem virusi50 ÃBeschallung,à the conductor extends this path
149 ological conception of music by making V
ological conception of music by making Verblšdung der GefŸhleÃ, Ã51 metaphors as cognitive variations on the ÃStumpfsinnigkeità caused by musical excess Heldenplatz. In the context of postwar AustriaÃs In a jolting twist, however, the conductor likens the musical omnipresence to nothing less than a Ãout a role for music as a Ã!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 50 51 -dull ! 141 invested with murderous agency. But the designations are also ambiguous. Insofar as one can determine a concrete victim, it seems to be music itself. sonic overload is not to abandon music but rather to call upon it as a kind of acoustical -insists upon silence. Jonke, it seems to me, postulates of the musical inundation he otherwise portrays Ãthis space the listener is able to
150 exercise a ÃGrundrecht auf Stilleputs
exercise a ÃGrundrecht auf Stilleputs it. * A series of potentmusical presentation. I mentioned above that the adjectives Jonke places in front of the Verheimlichte Kontinente, when historicized, ! 142 or a cognitive resource in and through which the kind of historical reflection that did not take place in postwar Austria might have occurred. However, if we are make productively available the metaphor of postwar AustriaÃs musically mediated silence, we must also recognize that the negative musical 52 this is to extend JonkeÃs exchange with the historiogdy nascent in SchoenbergÃs music.53 Ultimately, these paradoxes donÃt admit of any solution, or at least not any straightforward solution. Jonke, it seems to me, can only partially resolve the issue by !!!!!!!!!!!!!!!!!!!!!!!!!!!!
151 !!!!!!!!!!!!!!!!!!!!!!!!!!!! 52 Chorphan
!!!!!!!!!!!!!!!!!!!!!!!!!!!! 52 Chorphantasie, Ulrich referring to micromit gebrochenem Pathos und Melancholie den Zustand der (avancierten) Musik am Ende der Moderne reflektieren.à ãAbzugeben in der Welt, dicht an der Dornenhecke, der Grenze der Vernunft.à Anmerkungen zu Gert Jonkes Chorphantasie,à Gert Jonke, Chorphantasie, 71. 53 Chorphantasie contact with the American composer John Cage, whose preoccupation with silence was conscecrated most fully in his so ! 143 aesthetics of reception.54 the passive listener is rendered active. What emerges is not AdornoÃs rarefied active listener anticipating and following the already composed musical event. Rather, this is a listener who seeks out musical silence and builds upon it with imagined musical tive scenarios from the uncomposed Berg pi
152 ece, which requires an act of imaginativ
ece, which requires an act of imaginative intervention on behalf of Chorphantasie reine SchalldenkerInstrumente zu benštigen* Finally, the line of argument I have pursued leads me to propose a reevaluation of JonkeÃs ofte risk of alienating listeners and blocking receptivity. The novelist, says Sebald, needs to Ãfind ways of convincing the reader that it [namely, !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 54 Ãder deutschsprachigen ErzŠhlliteratur von Thomas Manns Doktor Faustus bis zur Gegenwart.Ã (WŸrzburg: Ergon, 2011), 417. ! 144 the history of persecution] is something on your mind, but you donÃt necessarily roll out on every other pageÃ55 quote, I think, speaks to the indirect !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 55 !! 145! C
153 onclusion approaching postwar Austrian
onclusion approaching postwar Austrian literature, especially as it manifested itself around the that can be taken up in order to accomplish specific types of social and cultural work. !! 146! contributed to surrounding and higAustriaÃs National Socialist past. For Bernhard, then, AustriaÃs musical pronouncements -headspace of his fellow citizens.Bernhard, Jelinek and Jliterary communicate the above accounts, which is to say that, in their hands, literature becomes riting about music that speaks to, if not outright anticipates, new musicologyÃs conceptual trajectory. Indeed, when Susan Feminine Endings way of radically decentering music Ãof radically different registers of speech: colloquialisms continually arise to deflate the !! 147! scripture or pop tunes proliferate, andindividual
154 essaysÃ1 style of JelinekÃs Die Klavi
essaysÃ1 style of JelinekÃs Die Klavierspielerin. My purpose in quoting McClary is not to The above observations are cast in general terms, but we might narrow our discussion by returning briefly to the question I raised in my introduction about whether Bernhard, Jelinek and JonkeÃs collective literary account of musical Austria might be here not least because the secondary question of where to place Bernhard, Jelinek and Jonke 2), it seems !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 Feminine Endings Minnesota Press: 2002), xii. 2 and Postmodernism,Ã Elfriede Jelinek: Framed by Language, ed. Jorun B. Johns aKatherine Arens (Riverside: CA, Ariadne Press, 1994), 129techniques (such as a blurring of the distinction between high art and mass culture, a stylistic eclecticism, an
155 d a questioning of the originality or ge
d a questioning of the originality or genius of the artist) clearly present in JelinekÃs work, for Fiddler JelinekÃs Ãpostmodernismà is strongly postmodern techniques in each of Bernhard, Jelinek and Jonke as part of her wider !! 148! me that Richard LangstonÃs recent account of the postwar German avant-us a potentially useful frame for coming at the above question. Pointing out that its chief orientation was toward the violent postwar resonances of Nazism, he defines German avant3 distinguishes itself by its unyieldingly critical stance toward the affirmative present, by trying to find ways of using the wartime past to navigate the present toward a better is a form of avantmusical !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
156 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! examination of postmodernism in postwar Austrian literature: Postmoderne contre coeur: Stationen des Experimentellen in der šsterreichischen Literatur StudienVer-iconoclasm by locating his ongoing literary critique of all things Austrian within the broader ambit of the postwar Austrian avantBernhard and tA Companion to the Works of Thomas Bernhard 3 Visions of Violence: German Avant (Northwestern University Press, 2007), 10. !! 149! * The weighty musical fixation that manifests coupled with the fact that they reflect almost exclusively on classical music, suggests that Bernhard, Jelinek and Jonke may have remained partially beholden to the narrow, pects of postwar AustriaÃs musical discourses. This is far from a trivial point:
157 in failing to move outside of this narro
in failing to move outside of this narrow 4 In order to address this limitation I would like turn briefly to the work of Lilian Faschinger, more specifically to her 1999 novel Wiener Passion. Although only four years older than Jonke and Jelinek, Faschinger did not see her literary until the early 1990s (her debut novel Die neue Scheherazade t as Bernhard or !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 4 market, which provided the bulk of their readers, their musical preoccupation may have also had the effect of reinscribing postwar AustriaÃs musically mediated attempt to distance itself from (Nazi !! 150! he Vienna Boys' Choir. In the Vienna apartment belonging to the of a better life. The manuscript, which details the few highs and many lows of Rosa's Faschinger's Vienna are pre
158 occupied with asserting and maintaining
occupied with asserting and maintaining its reputation as the 5 and Berg !! 151! In three key scenes, Faschinger shows how Austria's musical discourses 6 !! 152! German, so profoundly German.à (12)7 w Soon afterwards, the former prefect of the Vienna Boysà Choir informs Horvath that ViennaÃs reputation as the ÃWeltstadt der Musikà (136) or Ãworld capital of musicà (106) is endaing to be turned into Queens of the Night8 from MozartÃs Die Zauberflšte, who is charged with singing the notoriously challenging Ãder Hšlle Rache kocht in meinem HerzenÃ, one of the most famous, identifiable, and popViennaÃs leading musical institutions such as the Golden Hall of the Musikverein, the Konzerthaus, and the .9 women a!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 7 Mu
159 sik.Ã (24) 8 Kenntnisse den Heerschare
sik.à (24) 8 Kenntnisse den Heerscharen hilfloser Japanerinnen, die zu Kšniginnen der Nacht ausgebildet zu werden !! 153! state of affairs.Accompanying Magnolia on a visit to ViennaÃs Zentralfriedhof Csection of the cemetery: Its neglected condition, he used to complain, is Ãa disgrace to 10 cemetery containing the composersà tombs, Aunt Pia is relieved to note, forms a In these threabsolute: SchubertÃs compositions are Ãso profoundly German,à Vienna is the Ãworld !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 10 Mutterspracheà (69). !! 154! geographical or national allegiance, whether as something specifically German, something that allows Vienna to-Catholic) leanings. In each example, Faschinger places music into conflict with reputation (and hence they are thems
160 elves opposed to that tradition); and th
elves opposed to that tradition); and the venerable The reader may have tripped over the double use of the adjective ÃGermanà by the cashier at SchubertÃs Sterbehaus deutschnational Gesinnterà (388) who, later in the novel, and in a declared attempt to rid the city of its purportedly foreign elements, !! 155! German (Ãa person who is Germantranslation of the original). From this perspective ÃGermanà acts a kind of code for the -composers Schubert and Mozart wrote particularly German music is also a reminder of If Faschinger deftly shows how the discourse of Austria as a land of music is self-icated character she creates in Magnolia Brown also poses a threat to the discourse. The child of a white re fatherà (150).11 initial description of MagnoliaÃs father that emphasizes his identit
161 y as a jazz musician !!!!!!!!!!!!!!!!!!!
y as a jazz musician !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 11 Saxophonisten, noch genauer gezukŸnftigen VaterÃhineingelaufen seià (196). !! 156! alliance between jazz as an identifiably black American musical form with the vibrant and progressive politics of the 1960s.Note also that the type of saxophone MagnoliaÃs father plays Ãthe form of that instrument most often 12 possible, then, to view the deployment of the instrument in the above scene as a blurring Die Forelle Swing ; or when she sends Magn13; or indeed, when in her second narrative she transforms Rosa into a street$‡k, but also the de facto Tyrolean national anthem known as !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 12 saxophone. The instrument also features prominently in RavelÃs orc
162 hestral arrangement of MussorgskyÃs Pic
hestral arrangement of MussorgskyÃs Pictures at an Exhibition. 13 which she presumably talks about her wish to come to Vienna to train for a singing role in a Broadway musical) by saying or operettaà (26)/ ÃEs war ihr ein VergnŸgen, Floras Tochter, die offenbar das Opern-beziehungszeise Operettenfach anstrebeà (43). And, in conversation with his former workà (103)/ Ãein sehr modernes Werkà (138), almost as if he were assigning it to the category !! 157! By repeatedly diluting what would otherwise be registered as high-with musical pieces, genambit of serious music, Faschinger effectively questions the right it implicitly claims for Wiener Passion Ãthey otherwise place considerable pressure. Their critique of the cult of serious music in * , Gernot Gruber claimed that the autho
163 r Ãkritisiert den Kontext dieser !! 1
r Ãkritisiert den Kontext dieser !! 158! Musikszene radikal und lŠsst die Musik als Lebenshalt doch zugleich gelten.Ã14 Restated in terms of musical autonomy, I takeaccording to BernhardÃs presentation in the above novel, was able to disburden itself we lean on Adorno to observe that music, to the degree that it refused to have anything to do with postwar Austrian e itself available to the music recipient as a cognitive resource. When viewed through the lens of the present study, the notion of music having provided a Ãlife footholdà has some argumentative traction. Despite the strong critique ÃA mental habit these authors share with their protagonists ÃBernhard, JeliChorphantasie, continued to play some kind of redemptive or Ultimately, however, GruberÃs statement posits too c
164 lean a separation between musical autono
lean a separation between musical autonomy and musical context. It is rather the case, I think, that Bernhard, !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 14 usic to remain valid as a life foothold.musikalischem Virtuosentum in Der Untergeher und Der Ignorant und der Wahnsinnige,Die Musik, das Leben und der Irrtum. Thomas Bernhard und die Musik, ed. Otto !! 159! Jelinek and JonkeÃs collective portrayal speaks to an important distinction the music sociologist Lucy Green has articulated between two types of musical meaning, inherent and delineated. Inherent meaning denotes the materiality of what we hear, the sound of iew serious music as if it were a wholly enclosed, autonomous, art form that was only capable of sketching out or delineating. As she puts it: ÃWhen we listen to mu
165 sic, we cannot separate our 15 As that d
sic, we cannot separate our 15 As that description suggests, these two types of meaning are interdependent logical moments whose operation can only be separated conceptually, not in practice. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 15 Music, Gender, Education example of musical delineation Green cites the identification with or repudiation of the subaudience. The beliefs and thoughts that constitute those values seem to merge so completely with the music itself and to be so socially accepted, that it starts to look as if the music has come to delineate or even mean those values. !! 160! prevailed in AdornoÃs musicological approach.16 apprehended aÃa need that was directly proportional to the degree with which AustriaÃs musical inundation became imbricated in its failure to
166 confront its past Ãhistorical sensibil
confront its past Ãhistorical sensibil !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Press, 1993), 2. Note, however, that Adorno's concept of Ãsocial relations,Ã unfolding as !! 161! ÃIntroduction: What is Reenactment?Ã . ÃHow German is it?Ã Nationalism and the Origins of Serious Music in Early !! 162! . ÃWhat is German Music? Reflections on the Role of Art in the Creation of a !! 163! Bohlman, Philip V. ÃMusicology as a Political Act.Ã The Journal of Musicology (Autumn 1993): 411 ÃÃÃThe Music of European Nationalism. Santa Barbara, CA: Botz, Gerhard. ÃKontroversen um …sterreichs Zeitgeschichte: VerdrŠngte Vergangenheit, …sterreich-Waldheim und die Historiker. Eds. Gerhard Botz and Gerald Sprengnagel. Frankfurt am : Campus, 1994.
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