Music
New Objectivity in music, as in the visual arts, rejected the sentimentality of late Romanticism and the emotional agitation of expressionism. Composer Paul Hindemith may be considered both a New Objectivist and an expressionist, depending on the composition, throughout the 1920s; for example, his wind quintet Kleine Kammermusik Op. 24 No. 2 (1922) designed as Gebrauchsmusik, or one may compare his operas Sancta Susanna (part of a fairly expressionist trilogy) and Neues vom Tage (a parody of modern life). His music typically harkens back to baroque models and makes use of traditional forms and stable polyphonic structures, together with modern dissonance and jazz-inflected rhythms. Ernst Toch and Kurt Weill also composed New Objectivist music during the 1920s. Though known late in life for his austere interpretations of the classics, in earlier years, conductor Otto Klemperer was the most prominent to ally himself with this movement.
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Famous quotes containing the word music:
“If I could believe the Quakers banned music because church music is so damn bad, I should view them with approval.”
—Ezra Pound (1885–1972)
“A woman’s two cents worth is worth two cents in the music business.”
—Loretta Lynn (b. 1930)
“The time was once, when thou unurged wouldst vow
That never words were music to thine ear,
That never object pleasing in thine eye,
That never touch well welcome to thy hand,
That never meat sweet-savored in thy taste,
Unless I spake, or looked, or touched, or carved to thee.”
—William Shakespeare (1564–1616)