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head for completely different goals, because the embodied unnaturalness cannot be taken as a principle in length." In the next step, Schoenberg's vocation turned into a national tragedy: "The test of its existence, which has already been so far assured, will cost German music at least several decades, and its source will continue to flow murky for a long time to come, because specifically Jewish forces, for the first time in its history, have taken its development into their own hands in a time of inner weakening. The Jew as a fanatical leader, who is nowhere more down-to-earth and who consciously wants to be without tradition - that means nothing else than the path to ruin.
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in Berlin. At the outset, he made his aesthetic judgment of
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94:'killer-phrases' pretended to reveal the causes of complex social crises. In reality, however, the pseudo-arguments contributed to a dogmatic division into 'good' and 'evil'. Heuß saw himself as a judge of the right of works and their creators to exist. His criticism also referred to conductors like
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into a bulwark against the avant-garde and everything supposedly 'un-German'. The tendency of the journal, which can be seen especially in its reviews of contemporary works, was not based on differentiated analysis, but rather made sweeping devaluations based on stereotypical prejudices. So-called
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from 1921 to 1929. As a music critic and music writer, Heuß published mainly on
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Der Streit ums "Deutsche" : Alfred Heuss und die
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Der Streit ums „Deutsche“. Alfred Heuß und die
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was the culmination of a development that had begun long before.
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and on the music of the classical and romantic periods.
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Arnold Schönberg - Prussian teacher of composition.
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