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Der Querschnitt
- Bandzählung
- 2.1922, [H. 3], Weihnachtsheft
- Erscheinungsdatum
- 1922
- Sprache
- Undetermined
- Signatur
- ZA 2686
- Digitalisat
- Deutsche Nationalbibliothek Leipzig
- Lizenz-/Rechtehinweis
- Urheberrechtsschutz 1.0
- Nutzungshinweis
- Illustrierte Magazine 1.0
- URN
- urn:nbn:de:bsz:14-db-id355966999-192203007
- PURL
- http://digital.slub-dresden.de/id355966999-19220300
- OAI-Identifier
- oai:de:slub-dresden:db:id-355966999-19220300
- Sammlungen
- Projekt: Illustrierte Magazine der Klassischen Moderne
- Strukturtyp
- Band
- Parlamentsperiode
- -
- Wahlperiode
- -
- Titel
- Jazz
- Autor
- Antheil, George
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Artikel
- Parlamentsperiode
- -
- Wahlperiode
- -
- Titel
- Morgen...
- Autor
- Eisenlohr, Friedrich
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Artikel
- Parlamentsperiode
- -
- Wahlperiode
- -
Inhaltsverzeichnis
- ZeitschriftDer Querschnitt
- BandBand 2.1922, [H. 3], Weihnachtsheft -
- InhaltsverzeichnisInhaltsverzeichnis -
- WerbungWerbung -
- ArtikelKunstdruck-Teil 1 151
- ArtikelFrühlingsmond 155
- ArtikelNachruf: Ludwig Schames 156
- AbbildungLudwig Schames (Holzschnitt) 157
- ArtikelNeue christliche Kunst 158
- ArtikelWerkbund 160
- ArtikelDie Wanzenfamilie am Mississippi 162
- ArtikelKunstdruck-Teil 2 163
- ArtikelDas schwedische Ballett 167
- ArtikelBouquinerie 170
- ArtikelZur Plastik Ernesto de Fiori´s 171
- ArtikelZürich 1915 171
- ArtikelJazz 172
- ArtikelMorgen... 173
- ArtikelLa grande cascade 174
- ArtikelKunstdruck-Teil 3 175
- ArtikelTilla Durieux 179
- ArtikelAus "Spielen und Träumen" 180
- ArtikelVorrede zum Versteigerungskatalog der Bestände der Galerie ... 181
- ArtikelVorspruch 186
- ArtikelKunstdruck-Teil 4 187
- ArtikelChampa 191
- ArtikelDie Pleite des deutschen Films 191
- ArtikelDeutsches Kino 193
- ArtikelUn Discours 194
- ArtikelDie deutsche Tourist-Trophae 197
- ArtikelVan Gogh's Grab 198
- ArtikelKunstdruck-Teil 5 199
- ArtikelTraulische Hütten" und "Palehs" 203
- ArtikelMarc Chagall 205
- AbbildungAbbildung 208
- ArtikelÜber moderne Glasmalerei 209
- ArtikelKunstdruck-Teil 6 211
- ArtikelHeimatlos 215
- ArtikelDer Salon d´Automne und die Deutschen 216
- ArtikelZwei unliterarische Bücher 217
- ArtikelValeska Gert 219
- ArtikelPetit souvenirs de theatre 221
- ArtikelAmüsolier 223
- ArtikelPassion's Bourn 224
- ArtikelSkating-Rink 226
- ArtikelNeue Evolution des russischen Ballets 227
- ArtikelKunstdruck-Teil 7 231
- ArtikelA propos du dome, etc. 235
- ArtikelGespräch im Sturm auf der RAA 239
- ArtikelHymne 240
- ArtikelL´enfant-peintre 240
- ArtikelMarginalien 241
- WerbungWerbung -
- DeckelDeckel -
- BandBand 2.1922, [H. 3], Weihnachtsheft -
- Titel
- Der Querschnitt
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The maln fault 1 find with the young Englishmen is that they wash out their pedal, produce rosy nuances, lack rhythmic draughtsmanship, and have many other technical faulta in common with their blood brother, Cyril Scott, who they seem to detest as mach as I by word of mouth and by printed articlea. If Bloch in America were more Bloch and less Beethoven string quartets whlch he constantly studies, he would be one of the greatest musical names of the age. His biting eliptical line is new to muslc, and his locomotion and machinery is of the most improved type, but he writes always too much to the sentence. Among the names: Branchusi, Leger. Picasso, Gertrude Stein, Lipchitz, Joyce. Braque, Gris; we can today only put the name of Strawinsky among them. The musicians stay in their holes and refuse to function. One comes out sometimes and does somethlng that Strawinsky or Debussy has done before and is acclaimed a madman. Musical llfe be- comes dull and uninteresting. So far we must think that the musician of today is a lower artistic type than his colleagues. And it is equally as futile to write string quartets in quartertones which present no newer musical lines or musical locomotive mechanism than Brahms, or at best Debuäsy. It betrays the searcher for something yet newer — the fadist again. Let us consider the musical line!! We do not need to find new sonorites. Nuance as nuance should not exist. Let our youngest composers buy a drum or two and limit themselves to one or two lines of rhythm for a year. Let them work with a pencil and learn dynamic draughtsmanship. Let them experiment with space and create new musical dimensions. Without this there is no beginning. To anyone who has lived every day of his life in America and heard the cheap and almost primitive cafe orchestras, especially of the smaller cities, and has heard the infinite variety of headlong rhythms produced by a single clarinet upon a single tone with the strongest and most facinating relationships between the entire time spaces — to claim mono- tony because of the lack of vertical interest—i. e. the nuance, or the change of tonalities, or other musical machineries and pharphanelia that belongs to the Immedlate past is to declare ones pedantry, and if one is a composer it is to declare ones unnecessity. For American Jazz is the product and folksong of an enterprizing and daring blood that has left other lands in the spirit of materialism and dissatisfaction. Jazz is not a craze — it has existed in America for the last hundred years and continues to exist each year more potently than the last. And as for its artistic significance, the organization of its line and color, its new dimensions, its new dynamics and mechanics, — its significance is that it is one of the greatest landmarks of modern art. George Antheil MORGEN.... Deine Jugend schimmert reif und bunt. Trunken seh ich alle Schatten fallen. Wissend und wie sterbend zuckt dein Mund. Glocken fangen jauchzend an zu schallen. Ewigkeiten lächeln ungesund. Spreizen lüstern ihre blut’gen Krallen. Aller Schwermut Sterne funkeln wund . . . Morgen aber wird dein Schritt verhallen . .. •Friedrich Eisenlohr 17 5
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