Constante de ajuste por diámetro de tubería, dado por Tabla 6.3

Steinecke had tried for several years to bring Schoenberg to Darmstadt as a member of the composition faculty. Hisﬁrst invitation dates from a letter of 24 February 1949, in which he informed Schoenberg that he had heard from all sides– in a long list, Steinecke names René Leibowitz, Wolfgang Fortner, Willi Reich, Josef Rufer, Hans Heinz Stuckenschmidt, Peter Stadlen, Tibor Varga, Maurits Frank, Rolf Liebermann, Margot Hinnenberg-Lefèbre, Heinrich Strobel, and Eduard Zuckmayer– that Schoenberg’s attendance should be a central aim of the courses. It is clear from the letter, too, that

49 _{Hans Mayer,}_{‘Beton und Krach: Amerikanismus in einer westdeutschen Stadt’, Freies Volk, 11}

September 1951.

50 _{Fearn, Bruno Maderna, 70.} 51_{Ibid., 78.}

Again and again Mr Nono appeard on the stage, waving both hands as a sign of thanks like a boxer after delivering a knock-out blow.49

Mayer’s description of the piece he had heard, though, bears little relation- ship to either the score or the Darmstadt performance, even if one might suspect that in the process of listening he had managed to confuse the order of the sections enough to have been expecting‘polyphony’ when what was on oﬀer was ‘monody’.

Varèse’s presence influenced Maderna, too, but in rather different ways. While the moves of other composers towards electronic music came from wholly different directions, it was Varèse who was the seminal figure for Maderna. While most composers who turned to electronic music initially, at least, effected an impermeable barrier between those pieces composed for electronic and those for acoustic means, Maderna followed, in the first place, the example of Varèse’s Déserts (composed in the year in which Varèse and Madernafirst met, 1950) in attempting to fuse the ‘two dimen- sions’ of live and tape music.50_{Even if it was the exemplar of Varèse’s work} which made Maderna strike out in the direction of a combination of electronic and acoustic sound, it was with the assistance of Werner Meyer-Eppler, at the University of Bonn’s Institute for Communications Research and Information Theory, that Maderna prepared the tape part for thefirst version of his Musica su due dimensioni for flute and tape (1952), which would be premièred at Darmstadt in 1952, as a part of the so-called ‘Wunderkonzert’. Maderna met Meyer-Eppler, too, at Darmstadt in 1951 as a part of the workshop focussing on music and technology.51I shall return to both this workshop and the‘Wunderkonzert’ below.

Schoenberg and Adorno

49 _{Hans Mayer,}_{‘Beton und Krach: Amerikanismus in einer westdeutschen Stadt’, Freies Volk, 11}

September1951.

Steinecke had already made strides to ensure that it would be easy for Schoenberg to say yes: he advised Schoenberg that John Evarts– who was by this point stationed in Berlin, though he still coordinated the work of music oﬃcers like Everett Helm in Hesse – had already agreed he would make all the necessary arrangements from the American perspective and that Ludwig Metzger would be pleased to accommodate not only Schoenberg, but also his family for the duration of the courses.52

Schoenberg’s reply must certainly have given Steinecke hope that the plan would come to fruition:‘I have already heard from numerous people about your courses, and Iﬁnd the idea very interesting.’ Yet in terms of actual attendance, Schoenberg was deﬁnitive that his precarious health meant that he could not be certain of being well enough to travel until close to the date when he would have to do so. It also seems clear from the letter, though, that

Schoenberg would ﬁnd himself more strongly minded to come to the

courses if monies were made available to commission a new piece.53 In any case, Schoenberg did not come. He wrote to Steinecke on 9 May 1949: ‘My health simply won’t allow it [ . . . ] It is a matter of great regret to me, since I might have seen all my friends together there [. . . ] So I must hope that there will be another, better opportunity in the future. If not, then this comes too late for this life.’54One must presume that Steinecke had not yet received this letter when he wrote to Maderna on 15 May 1949 that he still had hopes that Schoenberg would direct one of the composition courses.55 Though a small amount of Schoenberg’s music had been performed at Darmstadt in 1947 and 1948, in 1949 Schoenberg was very heavily featured. The concerts in 1949 were arranged in conjunction with the Hessischer

Rundfunk’s ‘Woche für Neue Musik’ (as the 1948 concerts had been

affiliated to the Südwestfunk), which took place in nearby Frankfurt, the course participants travelling between Darmstadt and Frankfurt by bus as and when necessary: Darmstadt effectively piggy-backed onto the Frankfurt celebrations of Schoenberg’s seventy-fifth year.

The concert series began on 19 June 1949 with Schoenberg’s Variations on a Recitative for organ, op. 40 (1941), performed by Michael Schneider, and featured two performances of the Fourth String Quartet, op. 37 (1936), by the Amsterdam Quartet. The quartet was given its German première on 25 June, directly following Josef Rufer’s lecture on Schoenberg’s music, and a 52 _{Steinecke to Arnold Schoenberg, 24 February 1949, in Heinz-Klaus Metzger and Rainer Riehn}

(eds.), Darmstadt-Dokumente I (Munich: text+kritik, 1999), 30.

Schoenberg to Steinecke, 2 March 1949, in Metzger and Riehn (eds.), Darmstadt-Dokumente I, 30–1.

Schoenberg to Steinecke, 9 May 1949, in ibid., 32.

55 _{Steinecke to Maderna, 15 May 1949, in Dalmonte (ed.), Bruno Maderna–Wolfgang Steinecke, 27.} Steinecke had already made strides to ensure that it would be easy for Schoenberg to say yes: he advised Schoenberg that John Evarts– who was by this point stationed in Berlin, though he still coordinated the work of music oﬃcers like Everett Helm in Hesse – had already agreed he would make all the necessary arrangements from the American perspective and that Ludwig Metzger would be pleased to accommodate not only Schoenberg, but also his family for the duration of the courses.52

Schoenberg would ﬁnd himself more strongly minded to come to the

courses if monies were made available to commission a new piece.53 In any case, Schoenberg did not come. He wrote to Steinecke on 9 May 1949: ‘My health simply won’t allow it [ . . . ] It is a matter of great regret to me, since I might have seen all my friends together there [. . . ] So I must hope that there will be another, better opportunity in the future. If not, then this comes too late for this life.?54One must presume that Steinecke had not yet received this letter when he wrote to Maderna on 15 May 1949 that he still had hopes that Schoenberg would direct one of the composition courses.55 Though a small amount of Schoenberg’s music had been performed at Darmstadt in 1947 and 1948, in 1949 Schoenberg was very heavily featured. The concerts in 1949 were arranged in conjunction with the Hessischer

Rundfunk’s ‘Woche für Neue Musik’ (as the 1948 concerts had been

(eds.), Darmstadt-Dokumente I (Munich: text+kritik,1999), 30.

Schoenberg to Steinecke, 2 March 1949, in Metzger and Riehn (eds.), Darmstadt-Dokumente I, 30–1.

Schoenberg to Steinecke, 9 May 1949, inibid., 32.

second performance the following morning. The major event, though, came that night– the evening of 26 June – with an all-Schoenberg performance, given by the Radio Frankfurt Symphony Orchestra under the direction of Winfried Zillig, with Tilla Briehm as the soprano soloist and Tibor Varga– also a member of the Darmstadt faculty– the violin soloist, in performances of the Five Orchestral Pieces, op. 16 (1909), the‘Lied der Waldtaube’ from the Gurrelieder (1900–11), the Violin Concerto, op. 36 (1934–6), and the Variations for orchestra, op. 31 (1926–8). His String Trio, op. 45 (1946), was performed by members of the New York-based Walden String Quartet a week and a half later on 5 July, under the auspices of OMGUS.

Schoenberg still seemed dissatisﬁed. He wrote to Steinecke on 15 July 1949 that he was concerned that an expected performance of his solo piano music by Else Kraus seemed to have fallen through, adding,‘I know that Aaron Copland and Everett Helm are behind it all.’56 Steinecke endeav- oured to persuade Schoenberg once again to attend the courses and assured him that the absence of the Kraus concert was really related to Schoenberg’s own absence and that, moreover,‘no-one has interfered with the planning of things from behind the scenes, least of all Dr Everett B. Helm, about whom I can say nothing beyond that he has genuinely made possible and unstintingly supported the planning of the courses.’57Again, Schoenberg’s ill-health made travelling impossible for him, but it is notable that Steinecke had already begun to promote Schoenberg’s music outside the main run of the courses: the Amsterdam Quartet reprised its performance of the Fourth String Quartet in February 1950 for the Kranichsteiner Musikgesellschaft. This performance received an introduction by one Theodor Wiesengrund

Adorno, who presumably impressed Steinecke since, in the ﬁrst place,

Adorno replaced Stuckenschmidt as Darmstadt’s faculty member for ‘music criticism’ in 1950 and, perhaps more strikingly, Steinecke’s plans for the 1950 courses appear to have been marked by Adorno’s Philosophie der neuen Musik: he wrote to Schoenberg that the forthcoming course would ‘not as previously lay out the broad spectrum of all sort of new music. Instead all the lectures and courses will focus intensively and exclu- sively upon your work and the work of Stravinsky.’58

Nothing of the kind happened; there was none of Stravinsky’s music at the 1950 courses at all and only one piece of Schoenberg’s, albeit a major one: A Survivor from Warsaw, op. 46 (1947), was given its German première on 20 August 1950 at the hands of Hermann Scherchen and the chorus and orchestra of the

56 _{Schoenberg to Steinecke, 15 July 1949, in Metzger and Riehn (eds.), Darmstadt-Dokumente I, 32.} 57

Steinecke to Schoenberg, 13 September 1949, in ibid., 33.

58 _{Steinecke to Schoenberg, early February 1950, in ibid., 33.}

Adorno, who presumably impressed Steinecke since, in the ﬁrst place,

56 _{Schoenberg to Steinecke, 15 July 1949, in Metzger and Riehn (eds.), Darmstadt-Dokumente I, 32.} 57

Steinecke to Schoenberg, 13 September 1949, inibid., 33.

Darmstadt Landestheater, with Hans Olaf Heidemann acting as the narra- tor. Yet Steinecke had clearly already recognised that Adorno– or Adorno’s thought at least – could be an important adjunct to proceedings at the courses.

Though Schoenberg agreed in principle to come to Darmstadt for the 1951 courses, it always seemed likely that he would ultimately decline to come. In theﬁrst case, his health was clearly not improving, and he would die on 13 July 1951, days after the end of the courses. He had also shown little desire to return to a Germany which he felt was hostile to him. He had written to Steinecke on 29 January 1951 that he had‘read in a press clipping that last year, at an event which concerned me, an apparently strong Nazi demonstration against me took place’.59_{Despite Steinecke’s}

assurance that what had happened was nothing of the kind – on the

contrary, Steinecke said, the only protest had come from a small number of relatively unimportant people within the city council who had, some time before the performance, expressed concerns regarding the content of A Survivor from Warsaw– and that the whole event had been exaggerated out of all proportion in the press, this can hardly have made the already ailing Schoenberg think that Germany was, even yet, ready for what he had to say.60 Thus it happened that Schoenberg found himself replaced as composition lecturer with probably his foremost German exegete, Adorno, a former Alban Berg student. Nor was Schoenberg absent musi- cally speaking: the centrepiece of the 1951 courses was the Second International Congress on Twelve-Tone Music. As well as Josef Rufer’s presentation on Schoenberg,‘Der Tanz um das goldene Kalb’ (‘The Dance

around the Golden Calf’) from Moses und Aron (1930–2) was premièred

on the evening of 2 July.

In document MODELO PARA EL DISEÑO DE SISTEMAS DE CAPTACIÓN Y APROVECHAMIENTO DE BIOGÁS PRODUCIDO EN RELLENOS SANITARIOS (página 65-169)