MOsT 15 ATEN Belet S ENE, pS >» Essays on g, out the philosophy of musica 7 Ernst Bloch translated by Peter Palmer ‘with an introduction by David Drew Cambridge University Press ‘Cambridge London New York |New Rochelle ‘Melbourne SydneyPulsed bythe Pres Syd ofthe Univers of Cambridge “The Pi Blin, Trampngton Sr, Caras CR2 IRF "So Eat sth Seay, New Yor, NY 10022, USA 10 Stuord Road, Oableigh Melbourne 3166, Asselin Originally pabied in German in ‘Zar Piosopbie dey Muse by Suskamp Veg 1974 nd @ saben Vern, Pankart sm Main 1978 English ranslasion © Cambie University Pres 1985 Fase published Englsh by Cambie Unity Pres 1985, "Euan he Poosopy of Muse Repanted 1986 rized in Great Bein by Redwood Burn Ld, Trowbridge bray of Congres xo card umber 84-9488 ri Library Cataloguing in Pubiaton Data ‘loch, Bast Exay.o he philosophy of music [Masi Pilsonby and sestetis pte Zar Posie der Mask Engl ‘70.1 "ML3H00 ISBN 0521 24873 6hard coves ISeN 0 S21 312152 paetback asus Contents ‘Translator’ preface a Introduction by David Drew rae ‘The philosophy of music Begheings “The Method ~The technica succession The Sociological context~ The explosive youth of misc "The problem of philosophy of musical history Fudnes and its Schema ~ The song - On Mozare 16 = The Pasions~Bach, his form and his object = Carmen Open-ended song and Fidelio ~ Missa Solemnis~The bint of the sonata Brahms and ‘amber musi ~ Beethoven, his form, his abject and {he spit of che sonata ~ Stra, Mable, Becket ~ On Wagner Foreeunners ~ False polemics, = Speec-song, syncopated rhythm and chordal polyphony ~The transcendent opera and it object, ON THE THEORY oF mute “6 Practice and composition ~Inflesion Atack, o The cetive musical sting Inerprtation, or On the relation between absolute 84 tpi mie of eso sae ey tra iss oan pena apcofthe 93 ose tn of me et "Peto somal Roo Jyh sm cl nd etre Sanapining frm tno Grogan Siac anaes men bras pean cnt “On be tingallin mae od a1 Magic rate, human harp IL Paradoxes and the pastoralein Wagner's music {THE QUESTION OF THE PARADOXES Zr Ques oF Tie OhsNT temore IV. On the mathematical and dialectical character in music (Esay, 1925) V-_‘The exceding of ints andthe word of man {ts most richly intense in music FANTASTIQUE re HOLLOW sPAck, THE SUMJECY OF THE SONATA Tranelators note Index of persons and musical works 140 146 146 us 149 151 168 175 183 195 195 136 197 199 208 as 28 236 2a ol 247 Translator’s preface [Along with a dozen further pies, the following essays were frst ‘assembled in German in an anthology tiled. Zur Philosophie der ‘Must. Theopeningesayconsivatess large extract from the revised version of Ems Bloch’ itt book, Geist der Utope. (As my Not will indicate in subsequent writings he sometimes quotes from the Orginal, 1918, edison.) An Expresionse work n various respects, Geist der Utopie owes importne stil to Georg Lakice ~ whose arly Marxism included « mystical stain which found a ready response Bloch. There was some talk berween them af joint book fon aesthetic. Bloch, whose formal studies at university hed ‘embraced philosophy, music and physics was contribute a survey ‘of musi. In the event, such a survey occupies central place inthe fest part of Geist der Utopic. Reconsidering this book when it entered his Complete Editon (at volume 3) in 1964, Bloch himvelf| summed it up a8 a venture in “evolutionary gnosis. Ks mesianic feadng of history, and its conception of music 35 potentially the prophetic art par excellence, are ultimately re-echoed bythe inal Essay on musicin the Geman andthe present selection “The final esay comes from Das Prinsip Hoffnung, orginally titled “Triume vom besseren Leben’ (Dreams ofthe beter Lif) Bloch wrote this in the United States, soon aftr he had emigrated therein 1938, Formally, stylistically Das Priesip Hoffung yields ‘othing in biliance to is eatest book. George Steiner, a cite rather beter acquaited with world leratare than Jean Pauls lmpecunious War the Schoolmaster assures us tha here isno other ‘work lke it. There is Steiner comments, "no ready designation for its shape and tone, fo its fantastic range and metaphoric logic” Compared to Bloch’s frst book, Das Princip Hoffa implies 2 diate shift in focus broadly speaking, from te religious wl nd itspreoceupationsto Man as social being. Inthe erm, Bloch had quipped himself to demonstrate that~ 38 one of hit distinguishedsmusician-admizers has put it~ ‘in a purely scenic sense hope resides in w (Leonard Bernstein, Findings. Tn contrast othe frst and astesays the ther thei the present selection ae inherently selcontained. The send and tied esays fppear in volume 9 ofthe Complete Editon (Lieranache Aue, 1965). "The fourth appears within volume 10 (Phlosophische Aufstze zur objektiven Phantsie, 1969). Despite Bloch's emphasis ‘on the role of individuality in mica eeaton, Paradoxes and the Pastoral in Wagner's Manic furnishes the only extended study in the German anthology of a single composer. Wagner's problematic tenis was one with which Bloch repeatedly came to grips, 28 in Ger dor Utopie and in his exitgueofealtaal ends in the 1920s, Exbscatt dieser Zeit. Two slips of Bloch’ pon have been emended in the English texts Beethoven's Seventh Symphony, as opposed to his Eighthy i evi ently meant on p. 483 and the Nile music ‘vor dem veren AKT of| ‘Aida was Vet's eae for Ac3 fp. 177). lnthe Notes athe end, some Specicalusons and relerences are bry elucidate. was diffu to gauge the amount of maceil tht the reader might welcome — 1 have simply red tbe helpful, without becoming tedious. As forthe task of translation, there ate wellknown syntactical and psycho- logical differences htween German and English. When the original prose asthe prevailing density of Erast Bloch’ itmakes he atempt to reconcile thor differences all the more arduous. Since 3 good ‘many passages defy ‘natralisation’, my vesion will no doubs pres Senta certain impoverishment. Lean buthope that sill speakseflec- tively for is semarkable author, tothe profit of anyone for whom ‘eas and musi ar vital, intimate concerns [My thanks are de in the fist instance ro Robert Pasa, who selected most of the Esays for translation, He suggested many Improvements to 2 draft of the English texts and was anfaligly {generous in his encouragement, The project was paieny overseen by Jonathan Sinclai-Wilson in the philosophy division of the Cambridge University res, and it found a musical copy editor in Penny Souster, She roo made numero valuable suggestions and Continued to asst the book's progress afer her appointment 36 Imusic editor Nicholas Jon, of English National Opera, helped to ‘aify a point i connection with Tristan and Isolde. Besides con- twibutng the substantial Introduction, David Drew also provided ‘numberof comments on the translation, T would lke, finally to thank the library committe of the Unive sity of Nottingham for special facilites, andthe arts division of ‘Notsingham Central Libeary for procuring a copy of Bloch’s Geet der UtopieIntroduction From the other side: reflections on the Bloch centenary By David Drew ‘Queton: Whats the baie in your pilnopy? ioc: Thateannot sce anything ery clove Gutter anything that pre ‘sent in ron of my eyes Therehat oe Sane” rowerte expen Ifvey mpl: The wener noes sor what he wens At he foot the lighthouse there is no it's "The prophets witout honour in his own “Tove gues at whit wil frre emai is are itis nt ety inprobable that in ponderiag his oad ad is destination, Eraemararsved st conclistons which filed him with ight hath rte wo lc thes {Seay in is bene He may or he ay hee suf that inte art Stal he aimed at something beyond the pale of Chistian, that hush een hs oe eng way once foal wrec the wall ued ‘se wth hor dogmar an imeaonlserangement eth sak hat “Slat nity whieh th causes mean and har ‘Seed Kracauey, Easmus in Erut Bloch ebro? ‘Manx and Nietzsche ae the lst German philosophers to have cap- ‘ured the popular imagination outside the German-speaking woed I Niewsche has lost ~ and lose pethaps to Freud ~ the dubious ° cs sy bac noe ts queron pond bys muon oe ay ‘etl mpage who rene oi ioe isso ook once, Rene E0180) wat Sr of ‘dng ‘colin apr eb n Wetmer Germany. de ing ‘Sits fs bbts cle nt gh of he beqc oe eny Erbe Tg tom ay an ir WT a ee “iets hety ete Bac i German ing with mek tmocre,| SUES oe whl ares and had here oop ot ‘Shy tamen ley eet say islets och i et, ‘Scouts ling thee camo ered end nd con Teta ih ev eel rant ner once eshonour of being in that sense a houschold name, thtisno reflection ‘om his real achievement, bt only on the fact tht it was in his ame mong others that hitherto unthinkable crimes were, within living memory, committed agains the etie household of Western culture and humanity ‘With the notable exception of Heidegger, almost every German philosopher worthy ofthe calling joined the great emigration from Hitlers Germany, whether lierally or (ike Jaspers. until his removal, in spit For most, che traditional havens of Vienna and Prague, Basle and Paris, served their traditional purpose uti, towards the end ofthe decade, dreurstances called for second and ‘squall momentous emigration: westwards, to Ameria “That it was the America of Rooseveles New Deal wae generally inluenal. That twas also, forthe Marxist le, expressly or actly the chosen altezative to Sains Russa, became eri a ros roads, and even for some kindof personal cross. Of the leading German Marnist thinkers, only Gyorgy Lukes had (immediate) chosen Moscow and there he was to eemain unl the end ofthe Second World War, true to the party he had joined in 1918 and apparently atone withthe Stalinist consequences of the Leninism to ‘which hehad fully commited himself bythe esty 1920s, is fiend and antagonist, exact contemporary and test counterpart, Was Ernst Bloch, wiio took the moce familiar path through Pars snd Prague, and in 1938 sailed for New York. Bloch’ speech ‘Zerstte Sprache-Zerstire Kultur delivered othe Association of Geman seer remanent wd ececlogiel sees ia Germaiy, sod wae imeem Serre ieee Steen ineeetemnrtenereaitrae eo ielecreaar wenn {omg 9d complex Boch-Lakicr abn amir ine Speen a eats intra meee Selecta cee deimerateny Frank Bemcer, Nevweds Lachstiand 1965). Grrge’ Lich’ Laser foe ne eee com See. ‘Woitrs in New Yorkin 1939, and published in Moscow that same eat ~ ended with fur English words: "The Rights of Man Unlike Adorno, Hoskheimer, Marcas nd thee colleagucs fom {he Hegeian- Marxist Frankfurt School, Bloch arrived in the United States without clear prospects of apost, and predictably failed find ‘one. After ta years of hardship in New York and New Hampshire, bhemoved ro Cambridge, Massachusetts, where he wrote mos of his ‘magnum opus, Das Princip Hoffer, Apart from his address in 1939 tothe Congress of American Weiter, his appearances and hie publications in the New World were confined to German exile Seles In 1948, his siaey-foure yea, Bloch accepted the offer ofa pro- fessorship of philosophy at the University of Leipig chen inthe Russian zone and recently re-consiite athe Karl-Marx Univer sity. Te following summer he and hs family acived in what had slready been exablshed asthe German Democratic Republic. In his inaugural address atthe university’ he spoke ofthe chars and the Skills equied inorder to navigate the ocean. that les before us = an ocean of ‘ieumserbed possibilities Implicit im his principle, Hope’ was the need to discriminate between short-term and long. ‘ecm posites, and eel rather than merely dogmatic itations. For Bloch in his public role ain his sinking, the problems of navi ‘ation were not simply a matter of enlightened confidence inthe accuracy of existing chats the ‘Seckarte’of his inaugual speech ‘bur also of constant deep-water soundings. ‘A collision between loch and the Ulbricht eegme was neverthe- Jess at some point inevitable. That should already have been cleat ‘om any but the nos cursory o elective eading of his post 1918 work including, in their proper context, his notorious apologi for Stalin's Moseow show eile The even that indirectly precipitated the collision occurred in February 1986, when Keuschey delveredto the Twentieth Congress of the Sovier Communist Party his com- 2 Gaeta Spe Maku, lich Habre nek: Row 1970 82 * Ste emer rsa Dae ne Welbaaey Magu 4 Marah 1937) ‘eins sere iti ee an baer rc (ty ay 1958 paid a Vw ford Rapes Sar Negocio {reaon athe mache onistenr anderson 9G Ito whch Vor sd kataop ts ning sy apseprehensive indictment of Stalin's errors, crimes and general misrle and above al, because it was intended to explain all ofthe ‘ul of| personality’. Unwitingly Kruschev had dismantled part of the fortress upon which Russia's contro of the Easter bloc depende, and demolished ideological safeguards that have since proved irreplaceable ‘Criticism of Blocks “evsionism’ had been voiced in party journals, inermitently, since the start of the 19505. Yet his Seventh birthday in 1955 ~ just six months before the epoch: ‘making Congress ~ was marke by the kindof official elebraions thar people's democracies reserve forthe blameless great. Despite is age there was no ealkofrerement, and seemingly no thought of ‘he official a well at thezeal senseofthe celebrations was that was sul athe height of his prodigious power. Sot was very mucha: 2 public igure that Bloch addresed distinguished audience atthe “Humboldt University in East Berlin in Novernber 1956, onthe oc sion ofthe 125th anniversary of the death of Hegel. In tones that ‘would have rejoiced the heart of Brecht — who had died just three ‘months before ~ he atacked parsy functionaries who Sought t0 reduce the discussion of Marx and Hegel othe level ofa ‘haters competion’, and who seemed to believe ‘one could play the Ninth Symphony oa a comb™’ The fervour with which Bloch now reiterated his attacks on rigid dogma and his pleas for a wise toler ance was unmistakably heightened by evens in Hungary, where Russian oops were at hat moment crushing the uprising in support ‘ofthe ant Stalinist government formed by Ime Nagy. Among the ‘members ofthat government all of whom were eed to Rumania Seas Laks Lukes and his collegues inthe Perf ctl’ had ben the intel Jectual forerunners of the Hungarian uprising. Thee connections with Wolfgang Harich, who together with Bloch had founded the highly respected journal Die Deutsche Zetec fr Philosophie (and who was aso Blocks edcor inthe staw-controlled Aufbau Verlag, were well known in the GDR. Soon after Bloch had dalvered his widely reported Flege addres and retamed to Lepr, Harich was arrested, together with other members ofa “eisonist ‘tcl’ tha included three ex popl of Bloch. The end-of year sue ‘of Neuse Deutschland contained an article by Ulbricht caticing research and teaching athe Karl-Marx Universe inLeipeg, but not ‘mentioning Bloch by name. ‘A month late, Ulbricht addeessed the centeal committe of the ‘SED on the subject of the Harich ‘coneptacy’ its connections with ‘West German interests and the Pet ile, and its open endorse ment ofthe Yugoslavian ‘experiment. The awkward task of ens ing Bloch himself was assigned to a second speaker, Kurt Hager ‘With 2 ine flouish of plates, Hager declared that as teacher and thinker Bloch lid too much stress on the subjective, despised facts, ignored the disciplines of dialectical materialism, and concen trated on "emote objectives rather than the current realities of the class srugle™. While granting that his philosophy “obviously con- {aims strongly humanistic and progressive eendeci®’ he concaded ‘hat itis basally a form of idealism, divoreed from real fe andthe strugale ofthe working clasees’ Tn ae course Harch was sentenced to ten year’ imprisonment for organising and leading 4 “counter revolutionary” group, and Bloch’s three pupils recived lesser sentences. The offices of Die Dewasche Zeitschrift fir Philosophie were raided by the police, Bloch ‘was emoved from the editorial board and special issue comtsining Unbsih’s speech ro the central commitce was substcted forthe issue planned by arch and Bloch, At the central committee's bid ding, Leipzig University held in April 1957 a two-day conference on Bloch’s philosophy. Predictably its conlusions coincided with Kurt Hager ‘Compulsory retired atthe end ofthe 1955-6 year, Blach was now isolated from student if, though by no means digrace, He retained a second academic pst, and in 1959 Aufbau published the firse volume of Dar Prisip Hoang. By then he had already secured an alternative publishing outlet in the West, thanks tothe links with the Sohrkamp Verlag in Frankfurt which Brecht had so wisely culevated in ealer years, 1959 saw the publication by Suhrkamp ofthe frst completeiton of Das Pinup Hoffa, and te fist volume in what wast become a seventeen part Complete Edition In 1960 Bloch was vocferously welcomed by large student audiences at she West German universes of Tubingen, Heidlbers, nd Stora. On his return tothe Federal Republi for a sumer * ip. 96,holiday in 1961, he visited Bayreuth and became friends with Wie land Wagner. He and his wife were sil there on 13 August, when Germany awoke to find thatthe Eastern sector of Belin had been blocked off bya wall. Conciading that dhe sk of never recovering the manoscrips upon which the Complete Edition relied was less than the sun of the risks that retucning them would ental Bloch Sand hit wife resolved to tay inthe West, where their son had already Sealed. With hs appointment as Guest Profesor in Philosophy at “Tilbingen later that year, he could at last eesume the teaching responsibilities he had been deprived of in Lepag five years belore. Inno respect dd he modify his views to suit the new drcumstances; ‘nor dd he avail himself the tempting eewards and privileges which the West eserves for eminent fuptives from the East. “The special understanding Bloch exablished with che West German protest movement wen it erupted in 1966 was manifestly ‘elated the integrity of his bearing before and after 1961. Although Imost ofthe Meclogicl fel or the protest movement had come from the Frankfurt School - notably from Marcuse and Adorno ~Bloc’s nique experience and. personal authority Helped. him exert a moderating influence that was specifically his own. The primitive Leninist position ‘beyond good and evil was one that Bloch refused to conntenance, aad although he was carefal te the young Mars bind even Lenin himscl in support of his own moral and ethical Scrples the Judeo-Christian background was never disguised. A lifetime’ preoccupation with the New Testament in partcalae had begun with the fret (1918) edition of Gest der Uropie~ for ll is invocations ofthe profound designating power of heoic-ystical thei Lecontinued by way ofthe sxteeath-entury revolutionary pres Thomas Miinver, was enhanced inthe United States through Friendship wit dhe scale theologian Paul Tilich (ho had been ‘Adorno sponsor for a professorship at Frankfure University in| 1931), and culminated, exacly fit years after the fst publication ‘of Geist der Utopie in the passionately heretical Atheiomas im CCrisentun, which Belongs to he same year and the same climate as Block's rend and much-publcised debate with Rudi Dutschke. "For many of lochs admirers and all his fiercest xtc no heresy ‘ofhis has been so shocking as his (subjective! recognition of man’s inherently religous nature. Whereas Lukes soon abandoned the ‘metaphysics with which he set out in his pre-Marxist days, Bloch, ‘whose fiendhip wits hen had been formed in those days and was to ‘be commemorated inthe dedication of his posthumous Tendene~ Latens-Utopie, revised much bu teected noting, Having ished the fifteenth volume ofthe Complete Edtioninhisainetieth year and dedicated io the memory of Rosa Luxembrg he decreed tht the sixteenth and Tas should be an un-erouched facsimile of the ist (and later completely revised) etion of Geist der Uopie. ‘Theological iniiatves were largely responsible forthe short-lived iscovery of Bloch inthe USA in the late 1960s (as they wer for his rather earlier and more durable recognition in France and South America). They were, however, questioned ‘on strictly tactical {rounds atthe very start f the weightiest essay published in she USA tn the aftermath ofthe events at Berkeley, Prodrc Jameson's ‘Erst Bloch and the Future’? Jameson begins by remarking tht in his ‘Thomas Maneer (1921) Bloch characterises the ‘theologian of evolution” ina manner suggestive of his own aims, and tha his dangerous insofar asthe idea of Marxist 2 a reigion fone ofthe ‘main arguments inthe arsenal of ant-communist’ Bloch was by no ‘means oblivious of tha danger, and peated sought to avert it But ‘within a year of Bloch's death tefl force of Jameson's observation ‘was demonstrated from an unexpected and influential quartet. The Polish philosopher Leck Kolakowsk had made hs name as one of the young Warsaw revisionist inthe early 1960s, and as such had been commended and approvingly quoted by Bloc, But the theee- volume study of Marxism which Kolkowski published in England and America in 1978, after his emigration to che West, concludes With a volume ented "The Breakdown’ and itis in the caper devoted to Bloch and the alleged izesponsibilty of is quas: religious utopianism the Kolakowi finally dismisses Marais as 2 malignant wil the wis thathas deluded mankind for generations ‘Without visibly staining to be fair even in matters of detail, Kolakowskiconties to suggest tht Bloch’ philosophy is beneath * Figo, so a a nn Une Py HD 2 "el ei ere a feta Sage he ean Sea er he en wg Hitpi sheila et FeThe rt o 8.t n ‘ndtv The Breakdowns Lol mich ented Erm Blk Mar Ie tt pon gp iO) Ae Baa eR pe Ws bre tana holy ce hs 308, woh See reineSouter rere ihe peta ink sone ane te ite Stace gaara ease aera Secpeathndabacarc atta “Asked bya West German student joamalin 1970 whether he was 4 Marxist, Bloc replied ‘ropery speaking, «Marit mast lobe a philosopher and he who i 9 Wnt Hiion, The Mare Phixopy of Ent Block (Londo: Macailan lpr ma in ard bone eer Mast aut In ideolog othe ring lsc Maras ot pila ts Vlg Maes and wil soon become coserscrlatonary. Tree 9 fhe plas of Intak Bate he rest Ruban weer bow on eth by Son Banaty i spotertvcanon: Maat would become banal 't Beeame sche ‘Towhich the orthodox andthe unbelve alike woud both perhaps reply that philosophical Marist, however admirable or deplo ables objectives, bu special ifit develops an oraulartendeney {roms reside of idealism and mystic, solar emoved from the Science that Marx belived he had erated st be scarey dicase. Alen the same context. Macs famous and much missed quip that he was nota Marist belongs within the field of Bloch’ slong resistance to static com ‘eps and closed systems. Atancaly tage had steeped himself in thetraiton of proces philosophy, from ts cascl ons through Bahme and Lelie, through Scheling and Hegel, and finally to Bergson Everything he subsequently acquired and developed fom “Marx was calculated stengen anid define the proces ners of esos tdci and Ind above aly the enon of impeded preiptations (dee Spannang de vehindrt Falige) and the tency of ‘not yet realised possiblities och mckt verwislchte Moglichkeiten)" towards whose objective reality ‘mankind’ utopian dreams and experiments have everywhere and st all times called attention, whatever absurdities are immediately Apparent in them, and however sure thei imate fle: The inca, he insisted sno decive: ‘Themain hn... thahe opin conscience and-knowede ows wie rom the damages tom os a go aldo es rected by he mere power of tat why aay para tine ba tere reel On contr econo id ge be sen Iain ad fang ian nes snd freme provides he Stondardo mena ach acy precy separate om eg ae stove alo sear imancty that i by the Ideas wher hare ‘cued nd been calcd om in ins mel fre haepes toreand whch aes dplyed ad proposed inthe ace a8 " “face Spat hina Rie Tab andar Wwe (si) Copter Ene Bes ante Sg. 8 “ 'y emer Pp eng 73. Ere Boc, Tuber Elan dP, GA. 13, p97 Joe ‘ining nao fhe ston contanig te pra it hfe ‘sppeaed une he le "The Meaning of Uo A Phy of he tare‘Tobe unmoved by sucha passage and to tesstit is ineffect to ress All Boch, Bureven those who el ampli J soon pnp, Toe some eter reson, ay yet ecopise the insti of he charge that face for Bloch “hve no ontloial meaning ant ay be Ignored without hestation." Nevrtheles, Blots often zepeated ‘Een that stale as made to ret a leap om Uri © ‘SSence™ semain srkinglyeteal ithe context of hi self impose isolation from an tte range of economi)fas relevant tothe theory a practic of Marsa std ence wth icin Mn fn maton dae bdo. ‘xprsnghisdsqueabourthe too gratleap Bloch knowingy i fareedhinsel fom the mainstream of Mast suis, but aso om aay feather ends eight havefoundamong those who tere alcadyprclamingat then of World Warll that ‘scenic Mars wr dead, ut nots moral aia «ts elig of {octal esponsibity and ts ove for feed. “The mords are Raa Poppersin The Oper Society ands Enos, ~akey workin postvat Hegel and Mar xis and am cre precursor of Kolakowski is this orl raha of Mae wrote Poppe nthe eo Beveridge and Bevan which pains his int nea hat es hopefl atin ell This moral acim isi ive and is ur tak to Keep i alvtoprevet from ping the ‘vay that his poll radial wi have to go.” Beeween The ‘Open Socty and Blots soled Open Sytem, a8 between the “mighehave bee’ evoked by Popper in his assesment (a Mares prophets) of actual vets from 1864 01930, andthe ‘ot yet Evoked by Blochinsureyingheetite history of mankind yp to and incoing the 1970 thre ae some paradoical ain, and 9 ‘Sham that an perhape be bridged Kolakowsk rues that beats Bloch it anaethathis noon of the Ulsan ha no spport fom the existing rls of sec thought heintead invokes the dof pinto, artic inp hn Yk 070 nd iti arg et Maro and A (ghee agen fen 99), 0st ec elton pe «ade en © Re ch sr fin CA yp. 726 "hier fe Open cy Et 2, Head Mar ond ewe gt foes 12) 3 2 ee se ‘ston nena Ts, weare given to understand, wouldbe ‘orpivable pecadil Bloch sonst fists po hat ase, Koakowscontingey the rents of hs -ancipting fancy” Could be shelved Beste the fal hallcintd pea philsopy ofthese meaning, resumay, Bron an bs ses) Yertharhilosopy, he onclads ‘nl an ofchoot of te at whereas Block “purpra to be ng the langage of disse ‘Phlsophy in which he ambiguity of baie concep sca Tesaetis pont thatDr deo deenc of Blah wae lar in. The ben Halon ns a Blo ere mmoderaan = refuncioning proceure general asoctated wih the Franke Schoo! = Yores hime creat into cypher alk a 50 many analycally racial pins that Open Syste Fe the ik of being post pilsonhy, her ete Weltanschovun: system of fat nhopewi splendkdmetemyical meditations, but Hale explanatory power = Thrust nto he dock where Feud (whom he revered) has repewtely been signed for unscentic prcedures tnd wher ‘Marx has ben eondemnedonetery groin, Boch can survive the denuniaons more cay than the barasmens of detec hat ealstothewinessbox tends and calles who wil esl that he was ‘god! man brave and indsed noble, one, But suddenly ths in anol oni sate ast ear af execs, let alone hs gests an nexpeted emis ‘who brings seit an ecmeital appeal for creney no een Prete for one, bts ealsomofthecayrb seated From alsme polished more hans decades volume whose sinc hal be ge onl he Eh pig Pethaps asa presen for Bloch’snincith birthday, certainly as @ lie gallery from which eo observe from an unexpected angle the ‘nowfnished edifice ofthe Complete Elton, his wife Karla ase bled, in 1974, an anthology of his musical writings, for publication inthe Bibliotck Subrkarp series under the tle Za Philosophie der ‘Mast, The frst half ofthe anthology is devoted to the complete 2 Kotak Mae Caro pp. 4S, Fodon Mama drops 8“Philosophy of Masi’ from the 1923 version of Geist der Utopi the second half ends with 4 comparable excerpt tom Das. Prin Horfmorg snd beeen comes a sequence of artls and eviews from the inter-war pesod. The delight his 330-page volume must have gens now altbu-bind author was surely heightened by the ‘Companion volume bis publahes, with extraordinary sensi, frovied for 2 new dion of Buson’s Ente einer nou [ethett der Tonka, ncorpraingSchonberes marginal noes fcaneribd from hs owe copy of the sein. In hi pomp, HOH, Stuckenshmdtdescbed the Eno "peso the wus Veep “fsa ad published hit Extwur in Trieste in 1907, and ded catedit "Rilke, hemusiiann wor’ Bloch had writen Geist der Utopie in wartine Switerand (where Baron #00 sought refuge) ‘ecween Apel 1915 and May 1917, and deleted ois ist wife Eevon Sky,» devout Chrisiah who didia 1921 buemuned ‘lasing influence ons work, Ono the inks between the Eto nd Got der Utopei the notoriously oneenie Schoenberg? butits alo Schoenberg who bps account for thenunense distance terween thee works ~ not 10 mich the Schoenberp of the Hanmoncebre (1911), which Bloch alist, asthe Schoenberg who edn vain to peraade Richard Debnelin 191210 collaborate With him ona mystcoevotonsry orstono Gai der Uropie ion of tects of Geman Expressionism Jt av its pore leanings preigare the pocty of Bloch’ slighty Younger comteporarc sucha Rul Leonhard ad Johannes Becher, do tonal lends of revolutionary red and bbl Hue produce hep elects thatssem ro cnvsge the post 1918 fuinings of Latwig Meter, Contemporary. Anglo-American Treratare has nothing comparable, one has to go ack through Staley to lake nthe one direction, through Mell tothe New England Tancendentlsintheoter nd dtancequvalen, Inthe mut of Rac’ word there are cersny echoes from the Rilke Bison! amie, Farmoreimportans, howerer the place of 2 The coc of Shen's aches fret by he yung poste ‘Mice Harboe nda Soden ott eee rey Hes cn nd dh pn ‘Ech whars wey new tar war, Dr Huon nel fe hae chientw on of he bo! een hoarse sd kes have ch honour Geist der Urope reserves for masictel. Inthe 1918 edition, the seventy-oddl pags preceding Philosophy of Music’ end with an tssay on “The Comic Hero’ ~ Don Quixote, biel but illuinat- ingly compared with Don Juan. One of the main reasons forthe ‘say's disappearance from the later edition sem tobe stuctral although the impoctan Blochian motif ofthe desi day-eaty ‘makes its ist appearance here, there is no natural progression from ‘he Knight of the Sorrowfol Countenance to that realm of heretic freedom which in Bloch’s world, is mosis ova, but which music has nevertheless had to recanquee again and again throughout his tory. In that sense Mozart's Don would have served Bloch beter buthistimeisyeeto come) Theremovalof The Comic Hero whose Jaughtris'the laughter of persecution’ leaves the previous chapter’ ‘consideration of Van Gogh andhis explosion ofl feinoname less mythology’ and its eelerences ro Kokoschka and Mate, Kandinsky and Pechsten, even Picasso to prepare for the modernis and revolationary perspectives of Philosophy of Maric [Nor that wartime Switzerland can have afforded Bloch mach ‘opportunity of hearing the music of Kokoschkas and Kandinnky' peers. But he had already breathed the planetary air of Schoenberg's Second String Quartet and known what it portended for musicand the world. The wordplay that enables him to conceive ofa new age in which “Hellhoren’Gecoad hearing, in a visionary sense) will, replace the defunct at of Hellschen” (second ight, or clairvoyance) reminds us that Geis der Utopie is almost exactly contemporary with Charles Ives's Estays before a Sonata, where the Hawthorne movement is described as msi about something that neve will happen, o something else tha noe and the oraclar Becthoven rediscovered through Emerson and Thoreas.* Early in Philosophy ‘of Muse Bloch rakes Netsche otk for sting sic solely a8 an art of soco-historcalrewospections neat the end, he discovers in Jean-Paul a pasage that corresponds precisely t his own view of Imusic as the incarnation ofthe Utopian spirit, Why, asks Jean-Paul, does music's capacity to effet eransiions more sil a potently than any other art make ws forget «higher atibue of musi i ° a Con Chr en Yr Od ie {Geto ‘ley ina er ‘si sn Scena ‘he Rowse onthe propos Wad Sant Se! ©power ofnostalgs, not for an old county wehavelefebehindbut for 2 virgin one, not for a past but fora fuute? “That quotation didnot appes tithe 1923 revision of Get der opie. Bt the seeds from which were to grow the forest of Das Prinzip Hoffnung had already been planted and were sprouting in the 1918 version. Ata point equidistant betwen dhe signpost Dat ‘Bachsche und das Beedhovensche Kontapunktcre" and an excu sion to Kepler, Bloch returns. by Shakespearean moonlight 10 Bayreath, aif the locas delet of Romanticism. But the unhappy pores of his eaclier vss ae not lille for Wagner now tobe Scknowledged as Becthovenstrvest het. Meanwhile and stil by ‘moonlight, Block takes over from Wagnet his own rightful potion ‘of Schopenhauer’s vision theory, and uses it to distinguish berween| the dream that sinks doen in contemplation ofthe daylight expe ‘ence and the one that ‘moves beyond? what has aleady existed into 42 "not yee-conscious-knowledge’~a knowledge which, by 1923, he an already describe as “dawning”. By then, the dream that ‘moves ‘yon? isclealy denied with that ‘deam ofa thing” which Marx postrophised in one of Block's favourite passages the lente to Rage (of September 1843." ‘When all the philosophical sources of Geist der Utopiehave been ‘uncovered, shen the contnibations of Kant and Hegel have Been ‘measured against those of Nitasche and Bergron, when Lukice hae bboen credited wit the races of Dostoevsky and Kierkegaard, and Bohme detached from later-day theosophiss, when Difthey and Simmel, dhe Kabbalah, dhe New Testament, and the Book of Revel- sions, have all een taken into account, angle absence and single presence sem to dominate dhe Utopian whole. The absence, early Tocatedjustbeyond tlie of vison, and announced by the tramp nd trombones ofthe final chaperheading is that of Marx the presence i that of philosopher without whom, as Bloc remarked ‘many years later there would have been neither Nictche nor Fred, for, for that matter, Marcuse or Adora ~ the one philosopher "a ty Said Ke ras Se Md, bd hee f many mgt crs om Mae in ri hh Blech ‘Blea oh pnb rae nro te freee Atma {Getto GA 3p Setar de yan" Lie te ‘Folin Hane te Acid onder Une rt, Baoke dr whose psi wars contractdthat iol serve atl imesas 2 crue forthe base snd precious metal of blocs optim Schopenkaser* Teva Schopenhauer ho bed tha if were pose 0 expin renting that music capes the tele wold beth ac Phlsophy’ In effet, Block cares Schopenhauer speculation fs eweme. For him, mine ots Bes and sometime tis sco testi phlosophy tegiring ony the broadest of loss and here and’ there an exemplary definition. Cre and commentato incluingeven heed aa Belen wo pratieaboaexesiey pleading demisemiguver’ and sc in mic a ned or excuse for "he play of supplementary inagey'are anathema to Bch Ad no wont for itis ental a plowpcl purpose that mc Images and without nacre form hating formal procs et enigma 0 teleology hat ees te ery Ho the pty presence, om nna ofthe at Yer and sheafor in ae phrate which appears ony in te 1525 version bo apt equllyr the orginal) hat muse asa inwardly wopan artis comply beyond the scope of everything copii vere ‘ras Chare fes sogss inthe pgs is says maybe ssi was not neaded ost the ctousdfineness of ans Imaybeits ec tohope thc msc ma slaps transcendental language in the mont extravagant sense. The Bloch of Get det Uropeimgreral and Philosophie der Ms inparcalr hasan since abandoned the no-Kantan pacts berwen piospy ad fence. Like Luks In The Theory of the Nove! (916) ei developing his own form of Diltheysn “Geinwisescat” ae ‘Gece which she pay of ton and mys “Their ett stl when Bloch, ety dating enters the eld of Maikwisenschaf Hsertensive dct Riemann ans uc esses — notably Est Kusth and Hermann Abort an ain Such lading interpreters and praca! musicians as Scheer and (vith egard eo Bruckner Angst Hanae moe apy epidin 2 Test and dahil thine bond bees Mech and Sehpeei ‘RetrandUnei der Pama wleinsd Cle Abaddon ole eran, Kut sod Aber sar Hats 1965-1959) hr ee ri ede Age evans tthe hry and ec fed tis or Bet ev hs work cbr Ras Bos el etinsite understanding and imaginative insights than in scholarly precision, Adoeno's complaint that Bloch is as impatient with Iisico technical logic ae with aesthetic discrimination ets both ‘ways and draws some blood, not alo ic Bloch’ In Philosophy of| Music’ is cleae from the stare that Bloch has no inhibitions with regard academic proprieiesin msicology sits, and appeeci= fon. When in later years he was defending Wagner against “impudent snobs’ he emarked chat they lacked amongother things the ability to “hear round comers. That bility he himself possessed toa high degeee— which sone reason why its impossible imagine him poring over scores o check his references. Yer the idea of far rising Philosophy of Msi’ with pedantic footnotes ~ let alone “correcting the actual ext~is plainly preposterous. Tn that respect cher something tbe learn rom the reception ‘of Geist der Utopie. A lenghy review by Margaret Susman inthe Frankfurter Zeitung of 12 Janvary 1919” provoked a rposte from Paul Bekker (who was tha paper's musi enti and can hay have enjoyed Bloc's comments on his Beethoven book), Concentrating ‘om Bloch’ cavalier atta to musial history, his shaky technical ‘nals, and his pronenes o factalertor, Bekker concluded that ‘rerthing Bloch had red and fled eo realise in his Philosophy of ‘Music’ had been achieved by Spengle in the musial section of his precisely contemporary Decline ofthe West As Bekker well knew ‘vas a highly provocative comparison, for Spengler’ prestige and acces owed moch to the timeliness with which his impressively ‘weighty work had provided the conservative nationalist middle dass ‘with analgesics forthe aches and pain of Germany's defeat. Lite Knowing that Spengler was about tobe araigned by Alfred initein for muscological offences no less heinous than Bloch's ‘Margaret Susman renimed to the fay, protesting, nightly, that Spengle's and Bloch’s purposes were in no respect comparable, least ofall with regard w the role thir work alloted ro music. She acknowledged Bekker’ incontestale authority in musical matters, ‘bur questioned whether tented him to isolate the musical stata mulch Exon in Sign Une (rt lc ee (Brn sep. 29-8 or Hy etal se Ree er, Rago lun Koen Noi etn tip. 10752) 1p Ebon hapa Aah Seo Ul Brot Bc eon pp 385-830 from a work of philosophy and then argue that their nusicoogical shortcomings invalidated the whole tractae. the function of music in Bloch’s philosophy i that of parable and metaphor, detour and shore, the case aginst disoiaing Such excursions from thei philosophical base i noe inconsierable But the 1974 anthology was excused from answering it by the per sonal significance it manifestly had andby the historical one that he Busoni volume enhanced. Moreover it was om every side supported by the Compete Edition and its ttendane commentaries “The present anthology mast, forthe ime Being, stand alone. les lance sercare should however offer any points ofentry to what soever segments ofthe Complete Edition may be made available to English readers during dhe coming years Like the 1974 anthology, st ‘begins with the ‘Philosophy of Music’ from Geist der Urpie ad tends with a coreesponding excerpt from Dat Prinep Hoffames bberseen, there ia shorter selection from Bloch’s inter-war wetings| fon musical topics. The essays on The Threepery Opera, om Suavinsk, and on Wagner which immediately and with challenging tffet followed the Philosophy of Musi’ inthe 1974 anthology have notbeeninlnded baton historical grounds certainly merit 4 con Sideration hee, All eree essays reflec, fom different angles, Bloch’s friendship with the eondactor Onto Klemperer.” Although their pesonal acquaintance didnot begin nti they were introduced to ech other by Furewangler in Berlin in the early twenties, Klemperer had read and been enthralled by the manuscript of Geist der Utopie ak eal a8 1916 (thanks to his fend and Bloch's former teacher Georg Sim!) Atha tage the manuscepc probably sl acked ts apo trophes to Marx. By 1924 and the fis publication ofthe esay “On the Mathematical and the Dialeeical Character of Masi’, Bloch had evolved his iiosyncracic version of Marxist, and Klemperer was joyful falling the esto his major conducting engagements in the Soviet Union, The revolutionary production of Fidelio with ‘which Klemperer opened ‘hit’ Kroll Opera in September 1927 was influenced by his theatre-goingin Moscow; and twa sry he who 'was zesponsible for commissioning from Bloch the introductory * Nope utc atten tate tly tho Forman oe eid Peter Hepworth Oo Ropersay in the programme-book. Later that season Bloch likewise Inroduced Klempere’s own production of Dor Giovanni ‘At the Baden-Baden festival of German Chamber Mic in May 1927 Klemperer who wat accompanied by his furure Deamaturg at the Kell, Hans Cel) had been encapraed by Kurt Weis “Mahagony, a Songspil or scenic cantata to texts by Brecht. Bloch ‘was not presenta thar occasion, but Weil attended the premiere of| Fidelio together with his wife Le Lenya, and ther fends with Bloch was consolidated during the following year, after the epoch making premiere of The Threeperny Opera at the Theater am Schiffbauerdamm, in August. October saw the Kroll premiere of Seavinskys The Soldier's Tale, directed by Brecht’s close fiend Jacob Ges, designed by Piscator’s discovery Traugott Maller, and conducted by Klemperer. Bloch's notes on The Soldier's Tale and ‘Oedipus Rex (rescued from the previous season's Stravinsky peo gramme) were the basis of his important later essay, "Zetecho Seavinki.?> Klempere's admication for The Threepenny Opena led the comiietioning ofthe site, Kleine Dreigroschonper, which he ist onducted in Janiary 1939 at oe of the Keol Opera concert; Bloc’ simular enchantment led this marvellous essay on the “PirateJeany’ Song, which he dedicated to Weiland Lenya snd pub lished in January 1929." That same month, Klemperer conducted Jurgen Fehling’s radically new production of The Fying Dutchman. NNo'sall element in the uproar created by that production in rationalist and proto-Nazi cies was Bloh’s ntoductory and Style-definng essay "Rerung Wagners durch Karl May’ (Rescue of| Wagner through Karl May) (which was included in the 1974 anthology under the later tide "Recung Wagners durch Surealistsche Kolportage’ (Rescue of Wagner though surrealistic Penny Dreadful). Bayrenth, seemed, was abourto be stormed by Peachun and his beggar, 2 bls’ somesion wih he Kral arden in Han Cri, Experiment A a he ee eeeee losing seine his contin to The New Orbe ymgomom eed by Hoes in Komi ote Ya Urey Peas ars bepnhen 98 » Eicon Beha a Zan a % flood de Saakeriny in de -Drepshenpe” Vojrondangoe elt, BE From The Threeperony Opera to The Flying Dutchman would for most musical ravellers ofthe day have been a inordinately long and ‘dangerous journey for Bloc twas suely ao more demanding than ‘the one tha had taken him, on umberes youthful occasions fom his family home in the industrial pore of Lndwigahafen tothe old Palatinate capital of Mannhcim onthe opposite side of the Rhine. “The fairgrounds and czcuses and amusement arcades of plebeian| Ludwigshafen offered the young Boch delighs fr removed fom the patrician heawesandlibrares of Schillers Manali. ln musi asin the other arts his "questionable aste wea vital parcafhisown gues soning of taste? and the hierarchies it stood for butt was equally 3 pare of his quest for che utopian spirit i whatever guise it might 8ppear. Thete was no condescension about his tributes t those forms of popular art and Kitsch tha reflected a universal tat, The chapter in Das Prinip Hoffuong concerning fats and rcases, fairytales and penny dreadful, i entitled “Bessere Laftchlsser (Peztee castes in the 3 ‘Block's passion for aerial and low life excursions was one of his ‘many bonds with Walter Besjamin, the oustanding erica ind among his younger German contemporaries and ike Klemperer, an carly admirer of Gest der Utope ews surely chanks o Bloch and his essay on Offenbach’ Tales of Hoffa ~ written forthe 1930 Kroll Opera production by Brecht’ friend and colleague Ernst Legal that Benjamin, whose gous was ether unresponsive ro muse or else insome sense that he never defined) isimidated by i, veured| his ony essay on a musical subject ~ the Offenbach scion of his reat Karl Kraus study, fist published inthe programme book foe the 1931 Kroll production of La Péichoe in the Keats version. “The closure of the Kroll a the end ofthe 1930-1 season was tightly seen to be representative of a reactionary trend evident a al levels of German culture and sey. For Bloch and Benjamin as for Brecht, there was no hope of reversing the trend unlest Marxist theory was pu into action, which meant eollecive and party action ‘The posible consequences of that for intllctals who were unwl- ing or unready to repudiate this heritage of “bourgeois” indi- viduals and morality had already been examined in Bre’ ist indisputable masterpiece forthe theats, Die Macsnabme (The Se ch aigsen Manin Eh ie Za CA 80‘Measuees Taken), a Lehrstick set to musi by Hanns Eisler and fist petformed in Bein inthe autumn of 1930 under the baton of Kar Rank! (Klemperers choruemaster at the Krol). Fonctionally| ambiguous a8 i is, Die Massnabme examines Leninist theory and practice ems that cu straight across the wo currentsin Marxism ‘haracterised by Bloch asco steam” and "warm stream The fac ‘har the "measutes taken’ are in principle consistent withthe new morality of revolution propounded by Lukics inthe post 1918 er, has direc and earious bearing onthe debates vith Lukes in which Bloch, Brecht, and Eisler were engaged during the 1930s. But Die _Massnahme itself doesnot igure in Bloch’ writings, andi noe even mentioned in his 1938 essay on Beccht, “Ein Leninist der Schaubilhne’ o its important predecessor ‘Romane der Wunder lichkeit und! montirtes Theater” which proceeds from Kalga through Proust and Joyce tothe ‘Lennist Brecht Die Massnabme happened to inttoduce (and today throws an inguintoial ight upon) an erain which most of the 'messrestaken" were strictly eactionary. Th closure ofthe Kroll was representative in that plausible ase could be made for tin terms understandable to all I effect on the flow of Bloch’s musial writings was immediate: the only musial essay Bloch was to publish during the to yeas that remained whim in Germany deale with an oper hat Klemperer had taken a close personal intrest in ~ Weil's Die Biagscbaft” ‘Block's frse major undertaking in exile was Ersche(t dieser Zeit (Hestage ofthis Time), acoleeuon, or as he prefered to calli 2 ‘montage’ of those essays and occasional pices from the Weimat years that ceded to be rearranged inthe ight ofthe eatastrophe of 1933 and used as indications of the building materi required for the tasks offortifinton and reconstruction. (nthe orignal 1935 cedion music was represented only bythe esays on Stravinsky and ‘on The Threepenny Opera, but te enlarged 1959 edition ads the Inflammatory “Rescue of Wagner though Karl May’. The book ‘established the complex of watchtowers and dugout from which ‘Bloch, Brecht, Benjamin, and few others were conduc their ca paign agaist so-called Socialist Realism in the aftermath of the oman de Wunde ner Tener Sabine ‘pais » Hn "fope Wr pcan Va 1282 1p. 27- "heii ee CCominter-backed “Inernational Writes? Defence of Culture’ held in ars in June 193. "As a result of one of the Congres’ resolutions, Brecht, Lion Feuchewanger, and Will Bredel ofthe KPD were appointed editors ‘of Das Wort, «new German language periodical tobe published in ‘Moscovt. For various reasons, some of them purely practical the citoval tro was unable o fulfil ts proper fanctons, and by 1937 Das Wort wasin fet directed by Lukes and his Moscow ice In the September issue, Klaus Mann and Allred Kurelaled an attack on the heritage’ of Expressionism with particular reference to the ene of the poet Gotfed Bean, by far the most ditingsished figure among! the small group of erstwhile Expressionits who had atcempeed to come to terns with Nazism. Koel who in 193! had Published in Moscow an extensive critique of Die Masenahme, was fone of Lukics's closest associates. He took as his starting point LLukics's own polemic against Expressionism, plished the years before ia another of Moscow's German language periodials. The break with loch and indirectly with Brecht and Benjamin, was now inthe open, Bloch was at thistime working in Prague as a regula conteibutor to Die nene Weltbuine. His fist published reaction tothe debate was am article in the 4 November issue of Die nee Weltubne enti, simply, ‘Der Expressonismus. Ir made only passing refer: fence to Lukics (and to Kurdlla under his pen-name Zieple), but ‘ended with lengthy quotation from Geist der Utopie, every ine of ‘which Lukics himself must once have known almost by heat ‘A month ater bloch continued the debate in partnership with the composer Hanns Ese, whom he ha fist encountered in Bein in| 1930, buthad lost ouch with or the pase four yeas (Esler spent the last ree months of 1937 in Prague and then headed for New York, ‘where Bloch was soon to joi him.) The two imaginary dialogues they published in Die neue Weltbbne in December 1937 and January 1938 tested to their now consolidated friendship and to their sense of common cause agains the Lakes cle” The first, ‘entled “Avantgarde and Popular Front was between an Optimist and a Seeptic. The later begin a a Lukisiananti-modesns, but ‘ends by agreeing with the Opts thatthe ati-asist masse and Conference for the an ah Hoes evade Kern Volo aD Kas ‘eben Von and aapthe ‘new meaning polis) avant-garde are interdependent and tse proceed together. Though muni was hardy touched ypon this prof the logue, Bloch had founda drama way of rea ingiohe subject after more than ive yea sence. inthe scone dslgue Die Kane fueron the parcipants ate the Artloves(Kimatfewnd) andthe Areproducer (einalerscher Prodacon), Though ila ot work and nota soe com tmentaors have sswune” a quasaturaliic dialogue beween Bloch a Kansfend and Ener as Proucet the points of ie fend to bemorecaracterico he individual partpans han i the previous dlloge, aed sone passage become whol The dinar lap lon Oifenbach to. Wagner which the Arelover Sccomplites inorder to afien Wagner’ stats a dhe ‘reat trast phenomenon sine Beethoven ay, for sucha readership at Nichatineadenhdetpingadachy and quite uthiakablewatout the auton that Bloch lone could end ot Only a few sentences Inter loch doesn fey ae fal responsi for by iad {name of cin ali and mos remarkableone~ofke gues in modertsn: Paso, Scavinty, Schoener, Esler, Bor, Dos Paso and bch in that orden “The omission of sie nares angusonabiy important Bloch = notably Joyce's sice Manns was saeny admin nhs con text iv lem sigienr than te astonishing ncoion of Both Stravinsky and Schoenberg. Stavnsy's barely concealed fais with fasom in the 1980. and Schonberg’ more fog “xrrestons of ano and tue contrat made ther presence the Ine highly provocative, and. ot lest with regard to primis’ cae forthe natal lance between modernism and sive pli: Equally etal, and equal typical of Blok Erttalo of Klemperer was the oxaponiton of Schoenberg and Stravinsky ears of he fc that telework sce therevolton- dey pens had vided the mass avant gad ino vo appre recone camps, The posbity of Hegelian consrocion on the anthtal bal of Schoenberg ond Stravinsky, with Ele and Bano av the two hales ofa proposed syne aten nthe ftuctare ofthe it and seems Consinen wh he reference othe “dilesically transitional’ eae of the day which opens the inl, and very Blochian, paragraph ofthe dialogue ‘As outlines of a modernist. and “warm-tream’ aesthetic in opposition to Lukde's neo-clasicism, th Bloch-Eiser dialogues bridged the gp berween Bloch’ ise and inditec response tothe Kareli’s attack. and its famous successor, ‘Discunionen aber Expressionism’, which was published in Das Wort iselt in Jone 1988." By chat time several distinguished figures (among them, Herwarth Walden and Bla Bali) had already published replies in Das Wort, But Bloch’s essay dwarfed them all Kurella was silly dispatched: noting the sinister congruence berween his views om Expressionism and those promoted bythe recent Nai exhibitions of ‘degenerate’ ar, Bloch eurned to the much mote formidable igure of Lakes, atacked his argument at its weakest points, and ended by condemning ‘abstract methods of thought which seem to skim over recent decades of cultural history, ignoring everthing which isnot purely proletarian’ iuingly enough, the essay on Expressionism was loch'senvoito Europe. That same summer Bloch and his wife were reunited with the Eislers atthe Connecticut home of a mutual friend, and there clebrated the fest birthday of thee son. The hard times that followed for Bloch a or so many ofthe emigrants were part ofthe background of Das Prnaip Hoffung, but surely a lesser pat than the tes themselves, Ire the date rather than the plate oF the immediate circumstances in which that great work was writen that pertains tots historic character. At whatever stages inhi American Stay Bloch drafted the various pars ofthe main musical chapece (V inthe present volume) hee continuity with the 1918 Philosophy of Music is self-evident, not least in the ‘Hollow Space” (Der Hloblaum, a concept fist considered in the book's discourse on “ -Datasionn cher Eprom nthe ein af rah dr ZesiGn' cca da by Nanya ah Be ‘Tannese. 1979) whet lied by es Reali Blane $Srone Boao ce ae Di Kew ce Te Ineeucory an nkingpreenton byte tee eto conenion By Fre arbor he anon on apeei pide ote loc oe et ct et ihearchitecture) where che heroic Schoenberg of Geist der Utopei at last reunited with is subsequent achievement ‘On his retuen to Germany Bloch had litle occasion or time to