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The New German School ((ドイツ語:Neudeutsche Schule), ) is a term introduced in 1859 by Franz Brendel, editor of the ''Neue Zeitschrift für Musik'' to apply to certain trends in German music. Although the term has frequently been used in essays and books about music history of the 19th and early 20th centuries, a clear definition is complex.〔In 2006 Detlef Altenburg wrote: 'When in musicology one speaks of the "Neudeutsche Schule", it is - as when using the term "program music" - by no means certain which phenomena and which composers are meant. On the basis of existing academic literature, not even the question of the chronological definition can be clearly answered'.Translated from Altenburg: ''Fiktion der Musikgeschichtsschreibung?'', p.9.〕 In addition, those held to be representatives of the "New German School" are not all practising musicians. The term is thus problematic. It has been used by different persons at different times with different meanings. It is generally agreed that Franz Liszt was one of the most prominent representatives of the "New German School". There is also a consensus that Johannes Brahms did not take part. Beyond this, interpretations differ. The present article sets out the main elements associated with this term. Representatives of the New German School conflicted with more conservative musicians in the so-called War of the Romantics. ==The ''Tonkünstler-Versammlung'' of 1859== In 1858 Franz Liszt and Franz Brendel projected a 'Musician's Congress' (''Tonkünstler-Versammlung''). The necessary funding came from a stipend of 1,000 Thaler from Friedrich Wilhelm Konstantin, Prince of Hohenzollern-Hechingen, which Liszt had negotiated.〔Lucke-Kaminiarz: ''Der Allgemeine Deutsche Musikverein'', p.222f.〕 It was also Liszt who had made suggestions for the musical performances at the Congress.〔''ibid'', p.228. Additional information will be found in Liszt's letter to an unknown person in Leipzig, in: La Mara (ed.): (''Liszts Briefe'', Band 2 ), No.398. According to this, at the concert on June 1, the works by Mendelssohn, Schubert, and Chopin were performed much against Liszt's wishes. Liszt had wished that only works of the "progressive" line, as preferred by him himself, were to be played. He urgently asked the addressed person to keep his taking part in details of the program's composition secret.〕 It is no cause for surprise that Liszt himself was the most frequently performed contemporary composer at the Congress, and that members of his circle at Weimar were well represented. The third day of the ''Tonkünstler-Versammlung'', June 3, was opened by Brendel with a speech ''Zur Anbahnung einer Verständigung'' ("To open the way to an agreement"). Brendel's speech is the origin of the term "New German School". It was published as printed version in the ''Neue Zeitschrift für Musik'' of June 10, 1859. Brendel recalled Schumann, who had founded the ''Neue Zeitschrift für Musik'' to open the way for a new kind of art, derived from Beethoven's works. While Schumann had taken an artist's view, his writings had been purely subjective. In many cases Schumann's view had been dependent on transient emotions evoked by music. Brendel had a loftier aim. He had evolved distinct musical principles and kept to them. The ''Neue Zeitschrift für Musik'' had become the voice for progressive attitudes in contemporary musical life. As consequence, there had been conflict with other parties, rising to a pitch reminiscent of religious fanaticism of former times.〔Brendel: ''Zur Anbahnung einer Verständigung'', p.266.〕 Masters of recent years had proved to Brendel by their achievements that he had not been in error.〔''ibid'', p.266.〕 Brendel mentioned by name only Wagner, who had wonderfully realized the ideal of the pure German opera, but he also mentioned two others.〔''ibid'', p.271.〕 While Brendel did not explicitly cite their names, from the context it is clear that Berlioz and Liszt were intended. According to Brendel in his essay ''F. Liszt's symphonische Dichtungen'' of 1858, it was his conviction that Liszt's Symphonic Poems were the most perfect ideal of instrumental music of that time. They were what had to come if progress was to be gained.〔Brendel: ''F. Liszt's symphonische Dichtungen'', p.75.〕 In contrast to this, the Symphonies of Schubert, Mendelssohn and Schumann, however magnificent and beautiful they were, could only be regarded as the works of epigones {i.e. after Beethoven].〔''ibid'', p.111.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「New German School」の詳細全文を読む スポンサード リンク
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