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More Than One “Double Life”

Artistic Conceptions, Networks, and Negotiations in Benny Goodman’s Commissions to Paul Hindemith and Darius Milhaud

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  • cris.virtual.author-orcid
  • cris.virtual.department
    University of Music and Performing Arts Vienna
  • cris.virtual.orcid
    0000-0002-0297-025X
  • cris.virtualsource.author-orcid
    5410d306-499c-4dd1-9b7b-0db32b671049
  • dc.contributor.author
    Reisinger, Elisabeth
  • dc.date.accessioned
    2024-05-28T16:40:34Z
  • dc.date.available
    2024-05-28T16:40:34Z
  • dc.date.issued
    2023
  • dc.date.publishedOnline
    2023
  • dc.description.abstract
    Beginning around the mid-1930s, clarinetist and bandleader Benny Goodman engaged with classical music, adding standard solo pieces to his regular performance and record portfolio. He also stimulated the emergence of a modern clarinet repertoire by granting commissions to composers, such as Béla Bartók, Paul Hindemith, Darius Milhaud, and others. In this article, I explore why and how these projects evolved and how the collaborations unfolded. My focus is on the commissions to Hindemith (1941/47) and Milhaud (1941). The newly found correspondence of Eric Simon, a Viennese-born clarinetist who advised Goodman and initiated contact with Hindemith and Milhaud, reveal Goodman's “double life” as a multilayered sphere for various actors, each with their own specific background and agenda. My analysis follows three topics that decisively shaped the investigated projects: Goodman's relationship with classical music, which I discuss in light of the intersectionally biased structures of U.S. musical life; the situation of European émigré artists experienced by Hindemith, Milhaud, and Simon; and the promotion of new music, which linked the lives, networks, and agendas of the aforementioned protagonists and even defined their relationships. By highlighting Goodman taking center stage as a performer-commissioner, I argue for more serious attention to performers’ impact on musical production and repertoire formation, given that they represent the ultimate gatekeepers to the living repertoire.
  • dc.description.provenance
    Submitted by repo admin (repo-admin@mdw.ac.at) on 2024-05-28T16:40:34Z workflow start=Step: checkcorrectionstep - action:noUserSelectionAction No. of bitstreams: 0
    Made available in DSpace on 2024-05-28T16:40:34Z (GMT). No. of bitstreams: 0 Previous issue date: 2023
  • dc.identifier.doi
    10.21939/double-life-am
    10.1017/S1752196323000044
  • dc.identifier.uri
    https://dspace.mdw.ac.at/handle/123456789/6984
  • dc.language.iso
    en
  • dc.relation.journal
    Journal of the Society for American Music
  • dc.subject
    Benny Goodman
    Paul Hindemith
    Darius Milhaud
  • dc.title
    More Than One “Double Life”
  • dc.title.subtitle
    Artistic Conceptions, Networks, and Negotiations in Benny Goodman’s Commissions to Paul Hindemith and Darius Milhaud
  • dc.type
    text::journal::journal article
  • dcat.theme
    EDUC
  • dcterms.rights
    Copyright © The Author(s)
  • dspace.entity.type
    Publication
  • dspace.file.type
    text
  • mdwlis.institutionalBibliography.citation
    Reisinger, Elisabeth: More Than One ‘Double Life:’ Artistic Conceptions, Networks, and Negotiations in Benny Goodman’s Commissions to Paul Hindemith and Darius Milhaud. In: Journal of the Society for American Music 17. H. 2, S. 101-125.
  • mdwlis.institutionalBibliography.publicationType
    erstveröffentlichte Beiträge in SCI, SSCI und A&HCI-Fachzeitschriften
  • mdwlis.institutionalBibliography.subject
    Kunstwissenschaften
  • mdwlis.institutionalBibliography.subject3
    604
  • mdwlis.institutionalBibliography.subject4
    6040
  • mdwlis.institutionalBibliography.subject5
    10042
  • mdwlis.institutionalBibliography.year
    2023
  • mdwlis.mdwonline.identifier
    90311
  • mdwlis.publication.firstRelease
    Ja
  • mdwlis.publication.focus
    wissenschaftlich
  • mdwlis.publication.internationalCoPublication
    es handelt sich um keine internationale Co-Publikation
  • mdwlis.publication.mdwAttribution
    Ja, mdw wird im Kontext der Publikation genannt
  • mdwlis.publication.status
    veröffentlicht
  • mdwrepo.ancestors
    UB > pub.mdw
    LIS > Publikationen > Bibliographischer Nachweis
    LIS > Publikationen > Publications
  • mdwrepo.hasTopCommunity
    UB
    LIS
  • oaire.citation.endPage
    125
  • oaire.citation.issue
    2
  • oaire.citation.startPage
    101
  • oaire.citation.volume
    17
  • oairecerif.author.affiliation
    University of Music and Performing Arts Vienna