ABSTRACT
There is perhaps no institution as thoroughly German in its musical, social, and political dimensions as the Männergesangsverein [male choral society]. It is a “boys night out,” an expression of class and political solidarity, and, often, an occasion for serious music making as well. The institution was about a hundred years old when Schoenberg composed his main contribution to its repertory, and organized workers’ societies had been in existence for about forty years. Before op. 35 can be set against the larger historical and political backdrop of this movement, it must first be studied in light of Schoenberg’s other musical works, both choral and instrumental. Only when we understand the pieces both individually and collectively will we be able read their political, or moral and ethical message. 1
