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To take one of many cases as an example: in a portrait of the German Jewish composer Stefan Wolpe (1902–1972) for his hundredth birthday, Martin Demmler recounts that Wolpe began a large-scale piano work entitled Battle Piece in 1943, under the impression of the horrors of the Second World War. The composition was originally intended as part of an extensive work complex, but the latter was not realized. On some paper with notes for the thematic conceptions of the first part, Wolpe wrote: ‘Destroyed cities, fields, destroyed people.’ Demmler characterizes this composition as a work of pain, of mourning, but also accusation. He claims that Wolpe, a staunch pacifist, had originally had an epic programme in mind for the piece.

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Making Peace Audible and Aesthetically Grounding It—Quasi Una Fantasia

  • 章节

  • 发表日期：

    2025年

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  • Dieter Senghaas

摘要

To take one of many cases as an example: in a portrait of the German Jewish composer Stefan Wolpe (1902–1972) for his hundredth birthday, Martin Demmler recounts that Wolpe began a large-scale piano work entitled Battle Piece in 1943, under the impression of the horrors of the Second World War. The composition was originally intended as part of an extensive work complex, but the latter was not realized. On some paper with notes for the thematic conceptions of the first part, Wolpe wrote: ‘Destroyed cities, fields, destroyed people.’ Demmler characterizes this composition as a work of pain, of mourning, but also accusation. He claims that Wolpe, a staunch pacifist, had originally had an epic programme in mind for the piece.