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Diasporic Dialogues in Mid-Century New York: Stefan Wolpe, George Russell, Hannah Arendt, and the Historiography of Displacement

Published online by Cambridge University Press:  09 May 2012

BRIGID COHEN
BRIGID COHEN*
Affiliation:
[email protected]
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Abstract

This article explores mid-century New York intellectual scenes mediated by the avant-garde émigré composer Stefan Wolpe (1902–72), with special emphasis on Wolpe's interactions with jazz composer George Russell (1923–2009) and political philosopher Hannah Arendt (1906–75). Cross-disciplinary communities set the stage for these encounters: Wolpe and Russell met in the post-bop circles that clustered in Gil Evans's basement apartment, while Wolpe encountered Arendt at the Eighth Street Artists’ Club, the hotbed of Abstract Expressionism. Wolpe's exchanges with Arendt and Russell, long unacknowledged, may initially seem unrelated. Yet each figure shared a series of “cosmopolitan” commitments. They valued artistic communities as spaces for salutary acts of cultural boundary crossing, and they tended to see forms of self-representation in the arts as a way to respond to the dehumanizing political disasters of the century. Wolpe and Arendt focused on questions of human plurality in the wake of their forced displacements as German-Jewish émigrés, whereas Russell confronted dilemmas of difference as an African American migrant from southern Ohio in New York. Bringing together interpretive readings of music with interview- and archive-based research, this article works toward a historiography of aesthetic modernism that recognizes migration as formative rather than incidental to its community bonds, ethical aspirations, and creative projects.

Type
Research Article
Information
Journal of the Society for American Music , Volume 6 , Issue 2 , May 2012 , pp. 143 - 173
Copyright
Copyright © The Society for American Music 2012

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References

References

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Itten, Johannes. Gestaltungs- und Formenlehre. Ravensburg: Maier, 1975.Google Scholar
Jameson, Fredric. “The End of Temporality.” Critical Inquiry 29/2 (Summer 2003): 695–718.CrossRefGoogle Scholar
Jones, Caroline. “Finishing School: John Cage and the Abstract Expressionist Ego.” Critical Inquiry 19/4 (Summer 1993): 628–65.CrossRefGoogle Scholar
Kim, Rebecca Y. In No Uncertain Musical Terms: John Cage's Cultural Politics of Indeterminacy. Ph.D. diss., Columbia University, 2008.Google Scholar
Kramer, Lawrence. “Music, Historical Knowledge, and Critical Inquiry.” Critical Inquiry 32/1 (September 2005): 61–76.CrossRefGoogle Scholar
Kristeva, Julia. Hannah Arendt: Life is a Narrative. Toronto: University of Toronto Press, 2001.CrossRefGoogle Scholar
Leja, Michael. Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s. New Haven, CT: Yale University Press, 1993.Google Scholar
Lewis, George E. A Power Stronger than Itself: The AACM and American Experimental Music. Chicago: University of Chicago Press, 2008.CrossRefGoogle Scholar
Lott, Eric. “Double V, Double Time: Bebop's Politics of Style.” Callaloo 36 (Summer 1988): 597–605.CrossRefGoogle Scholar
Mao, Douglas and Walkowitz, Rebecca, eds. Bad Modernisms. Durham NC: Duke University Press, 2006.Google Scholar
Mercer, Kobena. Cosmopolitan Modernisms. Cambridge, MA: MIT Press, 2005.Google Scholar
Monson, Ingrid. Freedom Sounds: Civil Rights Call Out to Jazz and Africa. Oxford: Oxford University Press, 2007.CrossRefGoogle Scholar
Monson, Ingrid. “Oh Freedom: George Russell, John Coltrane, and Modal Jazz,” eds. Nettl, Bruno and Russell, Melinda. In In the Course of Performance: Studies in the World of Musical Improvisation, 149–68. Chicago: University of Chicago Press, 1998.Google Scholar
Monson, Ingrid. Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press, 1996.Google Scholar
Morris, Robert D. “A Footnote to Hasty, Whitehead, and Plato: More Thoughts on Stefan Wolpe's Music.” Perspectives of New Music 40/2 (Summer 2002): 183–88.Google Scholar
Mufti, Aamir. “Auerbach in Istanbul: Edward Said, Secular Criticism, and the Question of Minority Culture.” Critical Inquiry 25/1 (Autumn 1998): 95–125.CrossRefGoogle Scholar
Ono, Yoko. “The Hurun Report Q & A,” http://imaginepeace.com/archives/6314.Google Scholar
Ramsey, Guthrie P. Race Music: Black Cultures from Bebop to Hip-Hop. Berkeley: University of California Press, 2003.Google Scholar
Rifkin, Libbie. Career Moves: Olson, Creeley, Zukovsky, Berrigan, and the American Avant-Garde. Madison: University of Wisconsin Press, 2000.Google Scholar
Rumaker, Michael. Black Mountain Days. Asheville, NC: Black Mountain Press, 2003.Google Scholar
Russell, George. Lydian Chromatic Concept of Tonal Organization for Improvisation. New York: Concept Publishing Company, 1959.Google Scholar
Said, Edward. Reflections on Exile. Cambridge, MA: Harvard University Press, 2000.Google Scholar
Schapiro, Meyer. Modern Art: 19th & 20th Centuries. New York: G. Braziller, 1978.Google Scholar
Walkowitz, Rebecca. Cosmopolitan Style: Modernism Beyond the Nation. New York: Columbia University Press, 2006.Google Scholar
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Wolpe, Stefan. “Any Bunch of Notes (1953),” ed. Clarkson, Austin. Perspectives of New Music 21/1–2 (Autumn 1982–Summer 1983): 1–45.Google Scholar
Wolpe, Stefan. “Lecture on Dada (1962).” Musical Quarterly 72/2 (Summer 1986): 202–15.Google Scholar
Wolpe, Stefan. “On Proportions (1960),” trans. and ed. Greenbaum, Matthew. Perspectives of New Music 34/2 (Summer 1996): 132–184.CrossRefGoogle Scholar
Wolpe, Stefan. “Stefan Wolpe in Conversation with Eric Salzman (1962),” ed. Clarkson, Austin. Musical Quarterly 83/3 (Autumn 1999): 378–412.Google Scholar
Wolpe, Stefan. “Thinking Twice (1959),” eds. Schwartz, Elliott and Childs, Barney. In Contemporary Composers on Contemporary Music, 274–307. New York: Holt, Reinhart, and Winston, 1967.Google Scholar
Young-Bruehl, Elizabeth. Hannah Arendt: For Love of the World. New Haven, CT: Yale University Press, 2004.Google Scholar
Davis, Miles. Birth of the Cool (original recording reissued and remastered). Blue Note Records B00005614M. Originally recorded 21 January 1949.Google Scholar
Davis, Miles, Getz, Stan, and Konitz, Lee. Conception (original recording reissued). Original Jazz Classics, Ojc B000000Z5B. Originally released in 1951 as compilation of recordings from 1949–51.Google Scholar
Wolpe, Stefan. Enactments: Works for Piano. Josef Kristof, Benjamin Kobler, Steffen Schleiermacher. Hat Now 161.Google Scholar
Wolpe, Stefan. Quartet No. 1. Parnassus with Anthony Korf (conductor). Koch International 3-7141-2H1.Google Scholar
Heinrich Blücher Archive. Bard College Archives and Special Collections.Google Scholar
Irma Wolpe Rademacher Collection. New York Public Library.Google Scholar
Stefan Wolpe Collection. Paul Sacher Foundation. Basel, Switzerland.Google Scholar
Brick, Abraham et al. “New Palestine Party: Visit of Menachem Begin and Aims of Political Movement Discussed.” New York Times, 4 December 1948.Google Scholar
Coleman, Ornette. Interview with Ben Ratliff. “Seeking the Mystical inside the Music.” New York Times, 22 September 2006.Google Scholar
“Rendezvous in Mecca: Gründungsfest des German-Jewish Club im Mecca Temple.” Aufbau 5/21 (15 November 1939), 6.Google Scholar
Abbate, Carolyn. “Music—Drastic or Gnostic?” Critical Inquiry 30/3 (March 2004): 505–36.CrossRefGoogle Scholar
Adorno, Theodor. Schriften 18. Frankfurt: Suhrkamp, 1984.Google Scholar
Apter, Emily “Global Translatio: The ‘Invention’ of Comparative Literature, Istanbul, 1933.” Critical Inquiry 29/2 (January 2003): 253–81.CrossRefGoogle Scholar
Arendt, Hannah. The Human Condition. Chicago: University of Chicago Press, 1958.Google Scholar
Arendt, Hannah. Men in Dark Times. New York: Harcourt, Brace & World, 1968.Google Scholar
Arendt, Hannah. The Origins of Totalitarianism. New York: Schocken Books, 2004.Google Scholar
Berliner, Paul. Thinking in Jazz: The Infinite Art of Improvisation. Chicago: University of Chicago Press, 1994.CrossRefGoogle Scholar
Bhabha, Homi. “Aura and Agora: On Negotiating Rapture and Speaking Between,” eds. Francis, Richard and Shaw, Sophia. In Negotiating Rapture: The Power of Art to Transform Lives, 8–17. Chicago: Museum of Contemporary Art, 1996.Google Scholar
Bhabha, Homi. “Ethics and Aesthetics of Globalism: A Postcolonial Perspective,” ed. Ribeiro, Antonio Pinto. In The Urgency of Theory, 1–20. Manchester, UK: Carcanet, 2007.Google Scholar
Bhabha, Homi. “Preface: In the Cave of Making: Thoughts on Third Space,” eds. Ikas, Karin and Wagner, Gerhard. In Communicating in the Third Space, ix–xiv. London: Routledge, 2009.Google Scholar
Bhabha, Homi. “Unsatisfied Notes on Vernacular Cosmopolitanism,” eds. Pfeiffer, Peter C. and Garcia-Moreno, Laura. In Text and Nation, 191–208. Columbia: Camden House, 1996.Google Scholar
Brody, Martin. “‘Where to Act, How to Move’: Unruly Action in Late Wolpe.” Contemporary Music Review 27/2–3 (April 2008): 205–25.CrossRefGoogle Scholar
Cheah, Pheng and Robbins, Bruce. Cosmopolitics: Thinking and Feeling Beyond the Nation. Minneapolis: University of Minnesota Press, 1998.Google Scholar
Clarkson, Austin, ed. On the Music of Stefan Wolpe: Essays and Recollections. New York: Pendragon Press, 2003.Google Scholar
Clarkson, Austin, ed. Recollections of Stefan Wolpe. www.wolpe.org.Google Scholar
Cohen, Brigid. “Boundary Situations: Translation and Agency in Wolpe's Modernism.” Contemporary Music Review 27/2–3 (April 2008): 323–41.CrossRefGoogle Scholar
Cohen, Brigid. Stefan Wolpe and the Avant-Garde Diaspora. Cambridge: Cambridge University Press, 2012.CrossRefGoogle Scholar
Cohen, Brigid. “These Labyrinths of Terrible Differences,” Berlin Journal 19 (Fall 2010): 36–39.Google Scholar
Cone, Edward T. The Composer's Voice. Berkeley: University of California Press, 1974.CrossRefGoogle Scholar
Curtis, Kimberly. Our Sense of the Real: Aesthetic Experience and Arendtian Politics. Ithaca, NY: Cornell University Press, 1999.CrossRefGoogle Scholar
Dawson, Fielding. Black Mountain Book. New York: Croton Press, 1970.Google Scholar
DeVeaux, Scott. The Birth of Bebop: A Social and Musical History. Berkeley: University of California Press, 1997.CrossRefGoogle Scholar
Early, Gerald. “White Noise and White Knights: Some Thoughts on Race, Jazz, and the White Jazz Musician,” ed. Ward, Geofffrey C.. In Jazz: A History of America's Music, 324–32. New York: Knopf, 2000.Google Scholar
Edgcomb, Gabrielle Simon. From Swastika to Jim Crow: Refugee Scholars at Black Colleges. Malabar, FL: Krieger Pub. Co., 1993.Google Scholar
Edwards, Brent Hayes. The Practice of Diaspora: Literature, Translation, and the Rise of Black Internationalism. Cambridge, MA: Harvard University Press, 2003.Google Scholar
Feldman, Morton. Give my Regards to Eighth Street, Cambridge, MA: Exact Change, 2000.Google Scholar
Gibson, Anne Eden. Abstract Expressionism: Other Politics. New Haven, CT: Yale University Press, 1999.Google Scholar
Goehr, Lydia. “Music and Musicians in Exile: The Romantic Legacy of a Double Life,” eds. Brinkmann, Reinhold and Wolff, Christoph. In Driven into Paradise: The Musical Migration from Nazi Germany to the United States, 66–91. Berkeley: University of California Press, 1999.CrossRefGoogle Scholar
Gross, Frederick. Arshile Gorky and Willem de Kooning: Elements of an Artistic Dialogue. New York: Hunter College Department of Art, 1998.Google Scholar
Heining, Duncan. George Russell: The Story of an American Composer. Lanham, MD: Scarecrow Press, 2010.Google Scholar
Itten, Johannes. Gestaltungs- und Formenlehre. Ravensburg: Maier, 1975.Google Scholar
Jameson, Fredric. “The End of Temporality.” Critical Inquiry 29/2 (Summer 2003): 695–718.CrossRefGoogle Scholar
Jones, Caroline. “Finishing School: John Cage and the Abstract Expressionist Ego.” Critical Inquiry 19/4 (Summer 1993): 628–65.CrossRefGoogle Scholar
Kim, Rebecca Y. In No Uncertain Musical Terms: John Cage's Cultural Politics of Indeterminacy. Ph.D. diss., Columbia University, 2008.Google Scholar
Kramer, Lawrence. “Music, Historical Knowledge, and Critical Inquiry.” Critical Inquiry 32/1 (September 2005): 61–76.CrossRefGoogle Scholar
Kristeva, Julia. Hannah Arendt: Life is a Narrative. Toronto: University of Toronto Press, 2001.CrossRefGoogle Scholar
Leja, Michael. Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s. New Haven, CT: Yale University Press, 1993.Google Scholar
Lewis, George E. A Power Stronger than Itself: The AACM and American Experimental Music. Chicago: University of Chicago Press, 2008.CrossRefGoogle Scholar
Lott, Eric. “Double V, Double Time: Bebop's Politics of Style.” Callaloo 36 (Summer 1988): 597–605.CrossRefGoogle Scholar
Mao, Douglas and Walkowitz, Rebecca, eds. Bad Modernisms. Durham NC: Duke University Press, 2006.Google Scholar
Mercer, Kobena. Cosmopolitan Modernisms. Cambridge, MA: MIT Press, 2005.Google Scholar
Monson, Ingrid. Freedom Sounds: Civil Rights Call Out to Jazz and Africa. Oxford: Oxford University Press, 2007.CrossRefGoogle Scholar
Monson, Ingrid. “Oh Freedom: George Russell, John Coltrane, and Modal Jazz,” eds. Nettl, Bruno and Russell, Melinda. In In the Course of Performance: Studies in the World of Musical Improvisation, 149–68. Chicago: University of Chicago Press, 1998.Google Scholar
Monson, Ingrid. Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press, 1996.Google Scholar
Morris, Robert D. “A Footnote to Hasty, Whitehead, and Plato: More Thoughts on Stefan Wolpe's Music.” Perspectives of New Music 40/2 (Summer 2002): 183–88.Google Scholar
Mufti, Aamir. “Auerbach in Istanbul: Edward Said, Secular Criticism, and the Question of Minority Culture.” Critical Inquiry 25/1 (Autumn 1998): 95–125.CrossRefGoogle Scholar
Ono, Yoko. “The Hurun Report Q & A,” http://imaginepeace.com/archives/6314.Google Scholar
Ramsey, Guthrie P. Race Music: Black Cultures from Bebop to Hip-Hop. Berkeley: University of California Press, 2003.Google Scholar
Rifkin, Libbie. Career Moves: Olson, Creeley, Zukovsky, Berrigan, and the American Avant-Garde. Madison: University of Wisconsin Press, 2000.Google Scholar
Rumaker, Michael. Black Mountain Days. Asheville, NC: Black Mountain Press, 2003.Google Scholar
Russell, George. Lydian Chromatic Concept of Tonal Organization for Improvisation. New York: Concept Publishing Company, 1959.Google Scholar
Said, Edward. Reflections on Exile. Cambridge, MA: Harvard University Press, 2000.Google Scholar
Schapiro, Meyer. Modern Art: 19th & 20th Centuries. New York: G. Braziller, 1978.Google Scholar
Walkowitz, Rebecca. Cosmopolitan Style: Modernism Beyond the Nation. New York: Columbia University Press, 2006.Google Scholar
Weber, Samuel. Benjamin's –abilities. Cambridge, MA: Harvard University Press, 2010.Google Scholar
Williams, Raymond. Politics of Modernism. London: Verso, 1989.Google Scholar
Wolpe, Stefan. “Any Bunch of Notes (1953),” ed. Clarkson, Austin. Perspectives of New Music 21/1–2 (Autumn 1982–Summer 1983): 1–45.Google Scholar
Wolpe, Stefan. “Lecture on Dada (1962).” Musical Quarterly 72/2 (Summer 1986): 202–15.Google Scholar
Wolpe, Stefan. “On Proportions (1960),” trans. and ed. Greenbaum, Matthew. Perspectives of New Music 34/2 (Summer 1996): 132–184.CrossRefGoogle Scholar
Wolpe, Stefan. “Stefan Wolpe in Conversation with Eric Salzman (1962),” ed. Clarkson, Austin. Musical Quarterly 83/3 (Autumn 1999): 378–412.Google Scholar
Wolpe, Stefan. “Thinking Twice (1959),” eds. Schwartz, Elliott and Childs, Barney. In Contemporary Composers on Contemporary Music, 274–307. New York: Holt, Reinhart, and Winston, 1967.Google Scholar
Young-Bruehl, Elizabeth. Hannah Arendt: For Love of the World. New Haven, CT: Yale University Press, 2004.Google Scholar
Davis, Miles. Birth of the Cool (original recording reissued and remastered). Blue Note Records B00005614M. Originally recorded 21 January 1949.Google Scholar
Davis, Miles, Getz, Stan, and Konitz, Lee. Conception (original recording reissued). Original Jazz Classics, Ojc B000000Z5B. Originally released in 1951 as compilation of recordings from 1949–51.Google Scholar
Wolpe, Stefan. Enactments: Works for Piano. Josef Kristof, Benjamin Kobler, Steffen Schleiermacher. Hat Now 161.Google Scholar
Wolpe, Stefan. Quartet No. 1. Parnassus with Anthony Korf (conductor). Koch International 3-7141-2H1.Google Scholar