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Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe$
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Joy H. Calico

Print publication date: 2014

Print ISBN-13: 9780520281868

Published to California Scholarship Online: September 2014

DOI: 10.1525/california/9780520281868.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 23 October 2019

Afterword

Afterword

Chapter:
(p.161) Afterword
Source:
Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe
Author(s):

Joy H. Calico

Publisher:
University of California Press
DOI:10.1525/california/9780520281868.003.0008

The afterword compares A Survivor from Warsaw to Nathan Rapoport's Warsaw Ghetto Monument, two Holocaust memorials created in the late 1940s that place a high premium on intelligibility and representation. They have each been criticized for reasons both aesthetic and ethical. This brief afterword argues that the reason A Survivor has been interpreted as both catastrophic and redemptive, both kitschy and profound, and as susceptible to all of the interpretations noted in this book is because some of the musical means Schoenberg used to ensure intelligibility deploy the rhetoric of nineteenth-century musical monumentality. As Alexander Rehding has shown, the big gestures and grand effects of musical monumentality can cut both ways, evoking mixed feelings in the listener.

Keywords:   Arnold Schoenberg, A Survivor from Warsaw, Nathan Rapoport, Warsaw Ghetto Monument, Alexander Rehding, monumentality

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