Music and Politics - Contemporary Classical Music

Contemporary Classical Music

Benjamin Britten's War Requiem (1962) emphasised the futility of war, by quoting poems by Wilfred Owen. He had previously written a "Pacifist March" in 1937. He had been a conscientious objector during the Second World War.

Adams' opera The Death of Klinghoffer (1991) concerns the killing of an American Jew by Palestinian terrorists. The audience had expected to see the demonisation of the terrorists, but instead saw an even-handed treatment of the Palestine Liberation Front. Richard Taruskin of the University of California accused Adams of "romanticizing terrorists."

A range of contemporary classical composers of socialist or Marxist sympathies have attempted in often quite radically different ways to relate their politics to their work. Primary amongst those from the earlier 20th century are Kurt Weill and Hanns Eisler, both of whom moved away from atonal idioms that had become prominent in their time, feeling these to alienate audiences, towards music and music-theatre that had roots in popular musics (for example cabaret songs), though with sophisticated harmonies that reflected their musical background. Of post-war composers, the most significant of the earlier generations were Luigi Nono and Hans Werner Henze, both of who wrote a wide range of works that combined music with texts, theatre, and electronics relating to political issues viewed from a Marxist perspective (for example to do with events in Cuba, Vietnam and Chile in Nono's work). Nono brought this subject matter into a dialogue with a relatively abstract music derived from his own earlier serial compositions, from his pioneering work Il canto sospeso (1956) onwards, whilst Henze relaxed his earlier formalism in favour of a more eclectic approach to musical style, as for example in his large scale cabaret-like work Voices (1973).

A range of slightly later composers in West Germany, including Helmut Lachenmann, Nicolaus A. Huber (both of whom were students of Nono), and Mathias Spahlinger responded to political concerns in a more abstract fashion, reflecting to some extent the ideas of Theodor Adorno and writing in opposition to the perceived demands made upon music (in terms of passive listening, audience pleasing, and so on) made by the culture industry. Lachenmann and Spahlinger explored a musical vocabulary derived in large measure from unusual techniques upon instruments, to offer expressive possibilities outside of the boundaries of what Lachenmann called the 'philharmonic tradition'. Huber for a while in the 1970s withdraw from the contemporary concert circuit, instead writing Politische Revuen. Other German composers whose works relate to this tradition, though with a more eclectic use of idiom, include Dieter Schnebel, Konrad Boehmer and Gerhard Stabler. Marxist ideas on aesthetic matters could be found in the writings on music by Hans G. Helms and Heinz-Klaus Metzger.

A thoroughly different approach characterised the late work of the British composer Cornelius Cardew who, influenced by the writings of Christopher Caudwell (also alluded to by Lachenmann in his work for two guitars Salut für Caudwell (1977)) and Mao Tse-Tung, famously denounced the work of the post-war avant-garde with which he had previously been associated, in his book Stockhausen Serves Imperialism (in which he attacked not just Karlheinz Stockhausen but also the music of John Cage and others). Cardew argued that the atonal music of the avant-garde served to exacerbate the fragmentation of society rather than bringing the masses together; with this in mind he turned to the composition of didactic settings of revolutionary songs from Ireland, China, and elsewhere. Other composers influenced by Maoism include the Americans Christian Wolff and Frederic Rzewski and the Japanese composer-pianist Yuji Takahashi, all of whom also incorporated political song material into their compositions, though without wholly surrendering the other more abstract musical concerns of their earlier work, whilst the British composer Dave Smith continued to some extent in the tradition established by Cardew, as well as frequently making use of the medium of the nineteenth-century melodrama for speaker and piano, with a wide variety of texts relating to issues in Ireland, Palestine, and elsewhere.

The British composer Richard Barrett stands apart from other tendencies in that country, working within a radical atonal avant-garde idiom a little in the manner of the German composers mentioned earlier, but equally influenced by other figures including Stockhausen, Hans-Joachim Hespos, Xenakis, Kagel, Michael Finnissy and others. Barrett is concerned to marry together sophistication of musical content with a degree of surface immediacy, thus developing a musical language from fundamental parameters of register, density, dynamics, texture and timbre so as to facilitate the music's surface accessibility to the uninitiated listener. Finnissy himself has alluded to politicised topics in various works, especially in his English Country-Tunes, a ravaged musical landscape tinged with moments of nostalgia (not unlike the films of Derek Jarman), intended as a comment on the hypocrisy and falseness of English pastoralism. The British composer Gordon Downie writes in a highly abstract modernist idiom and in writings links this type of modernism with Marxist concerns. The British arts journal EONTA, under the editorship of Steven Holt, featured a range of writings on music and other arts from various Marxist perspectives.

Melissa Dunphy's best-known works take American politics as a theme: the Gonzales Cantata, while not partisan, sets the words of the dismissal of U.S. attorneys controversy hearings to neo-Baroque music, and What do you think I fought for at Omaha Beach? is a choral setting of testimony in support of same-sex marriage in Maine.

Other composers identify with a non-Marxist left, which may embrace non- or anti-authoritarian, left-liberal, Green, or even Anarchist politics. John Cage, for example, was influenced by ideas of Henry David Thoreau and other anarchist writers. Cage's concept of an "anarchic harmony" has been taken up by younger composers, including Andrew Culver and Daniel James Wolf. Many composers are engaged with environmental issues and may be usefully identified with Green politics.