Ein Interpret zweier Lehren

Paul von Klenau, Heinrich Schenker und die Zweite Wiener Schule

Abstract

This article is dedicated to Paul von Klenau's engagement with Arnold Schönberg's twelve-tone technique and Heinrich Schenker's music theory, , examining his pragmatic approach to these contrasting musical styles. By analysing correspondence, concert reviews and diary entries, the study reveals Klenau's continuing interest in Schenker's ideas on performance practice and his image of Beethoven while at the same time publicly advocating Schönberg's innovations - a balancing act that culminated in his later dissociation from Schönberg during the National Socialist era. The article criticises Klenau's opportunistic compromises and sheds light on the tensions between artistic ideals and political survival in the music of the early 20th century.