![]() ![]() In 1947 Schönberg wrote his famous essay ‘Brahms the progressive’ in which he showed that a return to the contrapuntal, imitative style (from which Schönberg took his cue for his own endeavors) was initiated by Brahms as a disciplined alternative to the coloristic and emotionalist excesses of ‘free’ romanticism. In the 19th century, and still long afterwards, Brahms was considered a ‘conservative’ composer, while Wagner and Liszt represented the ‘progressive line’, a notion which, with hindsight, was used by progressive composers like Schönberg to justify their own explorations which were presented as developments away from, and in the same time, rooted in tradition.
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