TheQuiltingPointsofMusicalModernism Modernism is both a contested aesthetic category and a powerful politicalstatement. Modernistmusicwascondemnedasdegenerate by the Nazis and forcibly replaced by socialist realism under the Soviets. Sympathetic philosophers and critics have interpreted it as avitalintellectualdefenceagainsttotalitarianism,yetsomeAmerican critics consider it elitist, undemocratic, and even unnatural. Draw- ingextensivelyonthephilosophyofHeideggerandBadiou,Quilting Points proposes a new dialectical theory of faithful, reactive, and obscuresubjectiveresponsestomusicalmodernism,whichembraces all the music of Western modernity. This systematic definition of musical modernism introduces readers to theory by Badiou, Žižek, andAgamben. BasinghisanalysesonthemusicofWilliamWalton, Harper-Scottexploresconnexionsbetweentherevolutionarypolitics ofthenineteenthandtwentiethcenturiesandresponsestotheEvent of modernism in order to challenge accepted narratives of music historyinthetwentiethcentury. j. p. e. harper-scottisReaderinMusicologyandTheoryatRoyal Holloway,UniversityofLondon. HehaspublishedwidelyonElgar, Wagner, Britten, and symphonic music and opera of the late nine- teenth and twentieth centuries, and his books include Elgar Studies (editedwithJulianRushton),AnIntroductiontoMusicStudies(edited with Jim Samson), and Edward Elgar, Modernist. His work has strongintersectionswithcontinentalphilosophyandpsychoanalysis (Heidegger,Badiou,Žižek,andLacan)andhasincreasinglycometo espouseanexplicitlyLeftistperspective. Published online by Cambridge University Press music in context Serieseditors: J.P.E.Harper-Scott RoyalHolloway,UniversityofLondon JulianRushton UniversityofLeeds The aim of Music in Context is to illuminate specific musical works, repertoires, or practices in historical, critical, socio-economic, or other contexts; or to illuminate particular cultural and critical contexts in which music operates, through the study ofspecificmusicalworks,repertoires,orpractices. Aspecificmusicalfocusisessen- tial,whileavoidingthedecontextualizationoftraditionalaestheticsandmusicanalysis. Theseriestitleinvitesengagementwithbothitsmainterms; theaimistochallenge notionsofwhatcontextsareappropriateornecessaryinstudiesofmusic,andtoextend theconceptualframeworkofmusicologyintootherdisciplinesorintonewtheoretical directions. Booksintheseries j.p.e.harper-scottTheQuiltingPointsofMusicalModernism:Revolution, Reaction,andWilliamWalton simonkeefeMozart’sRequiem:Reception,Work,Completion Published online by Cambridge University Press The Quilting Points of Musical Modernism Revolution, Reaction, and William Walton j. p. e. harper-scott RoyalHolloway,UniversityofLondon Published online by Cambridge University Press CAMBRIDGE UNIVERSITY PRESS Cambridge,NewYork,Melbourne,Madrid,CapeTown, Singapore,SãoPaulo,Delhi,MexicoCity CambridgeUniversityPress TheEdinburghBuilding,CambridgeCB28RU,UK PublishedintheUnitedStatesofAmericabyCambridgeUniversityPress,NewYork www.cambridge.org Informationonthistitle:www.cambridge.org/9780521765213 (cid:2)c J.P.E.Harper-Scott2012 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2012 PrintedandiboundiintheUnitedKingdombyitheMPGiBooksiGroup AcataloguerecordforthispublicationisavailablefromtheBritishLibrary LibraryofCongressCataloguinginPublicationdata Harper-Scott,J.P.E.(JohnPaulEdward),1977– Thequiltingpointsofmusicalmodernism:revolution,reaction,and WilliamWalton/J.P.E.Harper-Scott. p. cm.–(Musicincontext) Includesbibliographicalreferencesandindex. ISBN978-0-521-76521-3(alk.paper) 1. Music–20thcentury–Philosophyandaesthetics. 2. Modernism(Music) I. Title. ML3845.H325 2012 780.9(cid:2)04–dc23 2012015415 ISBN978-0-521-76521-3Hardback CambridgeUniversityPresshasnoresponsibilityforthepersistenceor accuracyofURLsforexternalorthird-partyinternetwebsitesreferredto inthispublication,anddoesnotguaranteethatanycontentonsuch websitesis,orwillremain,accurateorappropriate. Published online by Cambridge University Press ForMichaelandRaymond,inadmirationand profoundthanks Published online by Cambridge University Press Fortisestveritasetpraevalebit Published online by Cambridge University Press Contents Listofillustrations [pageix] Preface [xi]   [1] 1 Modernismasweknowit,ideology,andthequiltingpoint [3]   [43] 2 Modernism,love,andtruth [45] 3 eloveofTroilusandCressida [81]    [147] 4 Communistmodernism [149] 5 Anewcommunity [197] Aerword:whattodo? [251] Bibliography [255] Index [267] Published online by Cambridge University Press Published online by Cambridge University Press Illustrations 1.1 PaulCézanne.‘eGardenerVallier’,c.1906.Oiloncanvas.©Tate, London2011.Reproducedbykindpermission. [page39] 2.1 Lacan’ssexuationdiagram. [49] 2.2 Badiou’sdiagramoftheloveprocess. [68] 2.3 eEroica’sC♯as∅intheE♭set. [76] 3.1 Lacan’sfirstgraphofdesire. [102] 3.2 Lacan’ssecondgraphofdesire. [103] 3.3 AnalyticalgraphofpartofTroilusandCressida,‘Morningand Evening’. [108] 3.4 Lacan’sdiagramofpsychoanalyticobjects. [114] 3.5 MiddlegroundgraphofTroilusandCressida,‘OutofMy Childhood’. [118] 3.6 FormalstructureofTroilusandCressida,‘OutofMyChildhood’. [121] 3.7 Lacan’sthirdgraphofdesire. [135] 3.8 Lacan’sfourthgraphofdesire. [139] 4.1 eretrospectivefunctionoftheEventalsite. [160] 4.2 efirstschemaofsubjectivedestinations. [171] 4.3 efinalschemaofsubjectivedestinations. [172] 5.1 Truthproceduresandtheirsingularactivation. [198] 5.2 Figuresanddestinationsofthesubject,crossedwithtypesof truths. [199] 5.3 RotationalanalysisofFirstSymphony,i. [233] 5.4 RotationalanalysisofCelloConcerto,i. [233] 5.5 Foregroundgraphofbb.1–29ofFirstSymphony,i. [234] 5.6 Middlegroundgraphtob.76ofFirstSymphony,i. [235] 5.7 MiddlegroundgraphofexpositionofFirstSymphony,i. [235] 5.8 Middlegroundgraphofbb.433–504ofFirstSymphony,i. [236] 5.9 MiddlegroundgraphofCelloConcerto,i. [238] 5.10 MiddlegroundgraphofCelloConcerto,iii. [240] 5.11 SegmentationalanalysisofteleologicalgenesisintheFirst Symphony. [246] ix Published online by Cambridge University Press Published online by Cambridge University Press