- The Oxford Handbook of the New Cultural History of Music
- Introduction: Defining the New Cultural History of Music, Its Origins, Methodologies, and Lines of Inquiry
- Gender, Performativity, and Allusion in Medieval Services for the Consecration of Virgins
- Music, Violence, and the Stakes of Listening
- Music and Pain
- “The Road into the Open”: From Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
- Understanding Schoenberg as Christ
- The Strange Landscape of Middles
- The Genre of National Opera in a European Comparative Perspective
- Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life
- Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
- “Shooting the Keys”: Musical Horseplay and High Culture
- Yvette Guilbert and the Revaluation of the <i>Chanson Populaire</i> and <i>Chanson Ancienne</i> during the Third Republic, 1889–1914
- Remembrance of Jazz Past: Sidney Bechet in France
- An Evening at the Opera in Seventeenth-Century Venice
- Josquin des Prez, Renaissance Historiography, and the Cultures of Print
- From “the Voice of the Maréchal” to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
- A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127–1279)
- <i>Ernani</i> Hats: Italian Opera as a Repertoire of Political Symbols during the Risorgimento
- Modalities of National Identity: Sibelius Builds a First Symphony
- Beethoven, Napoleon, and Political Romanticism
- Translating Herder Translating: Cultural Translation and the Making of Modernity
- The Eye of the Needle: Music as History after the Age of Recording
- Afterword: Whose Culture? Whose History? Whose Music?
Abstract and Keywords
This article discusses Schoenberg's return to Christ in his late work. It constructs Schoenberg's priest-like leader role by his Vienna circle sometime in 1909. It notes that the Schoenberg correspondence from around 1909 to 1912 involved a language that is strongly inflected with Christian mysticality. Some communications even construct Schoenberg as a poet-priest who is performing a redemptive role. The article also examines three potential models of priestly discourse—through Otto Weininger, Stefan George, and Karl Dieter Wagner—and explains how these can contribute to the current understanding of Schoenberg's late activities.
Julie Brown is a reader in the Music Department at Royal Holloway, University of London. Among her publications are Bartók and the Grotesque (2007) and the edited collection Western Music and Race (2007), which was awarded the Ruth A. Solie Award by the American Musicological Society. She is currently working on a book on silent film sound in 1920s’ Britain.
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