Dennis Bohnhorst Essay

TABLE OF CONTENTS


Overview

Biographical Note

Scope and Contents of the Collection

Arrangement of the Collection

Restrictions

Access Terms

Related Material

Administrative Information

Description of Series

Series 1:Personal papers, 1941-2009

Series 2:Correspondence, 1950s-2000s

Series 3:Teaching materials, 1955-2004

Series 4:SMU organs and organ consulting, 1964-2006

Series 5:Manuscript music, 1950-1995

Series 6:Publications, 1928-2005

Series 7:Programs, 1949-2000

Series 8:Audio, 1951-1994

Series 9:Video, 1985-1995

Series 10:Photographs and slides, 1940s-2000s

Series 11:Prints, 1970-1996


Robert T. Anderson papers, 1940s-2009

A Guide



Overview

Creator:Anderson, Robert T.
Title:Robert T. Anderson papers
Dates: 1940s-2009
Abstract:Robert T. Anderson, widely known as RTA, was an internationally renowned organist who taught at Southern Methodist University from 1960-1996. He was the service organist for Perkins Chapel from 1960-1995, Chair of the Organ Department, first Meadows Distinguished Teaching Professor, University Distinguished Professor, and served as organ consultant for the C.B. Fisk organs opp. 100 and 101 at the Morton H. Meyerson Symphony Center and Caruth Auditorium. This collection includes correspondence, teaching files, photographs and slides, audio, video, programs, and posters.
Accession No:SMU 2009.0420
Extent:48 boxes (26 linear feet)
Language: Material is in English
RepositorySouthern Methodist University Archives, DeGolyer Library, Southern Methodist University

Biographical Note

Robert Theodore Anderson was born October 5, 1934 in Chicago, Illinois. He began playing piano at 5 years old, even playing by ear before he had his first lesson. As a 13-year-old, Anderson went to hear French virtuoso Marcel Dupré, organist of St. Sulpice in Paris, play at the summer weekly series at Rockefeller Chapel. He started organ lessons at 14 and played for Sunday morning services at Hyde Park Methodist Church in Chicago while at Hyde Park high school and continuing piano with Mary Ruth Craven. He was registered with the American Conservatory of Music, and gave his student recitals in downtown Chicago under its sponsorship.

While Anderson was at Illinois Wesleyan University in Bloomington, Illinois, studying with Lillian Mecherle McCord, he spent summers as the organist of Fourth Presbyterian Church on North Michigan Avenue in Chicago. During this time he had a weekly composition lesson with his college mentor, Frank Bohnhorst.

Anderson was organist at Second Presbyterian Church in Bloomington, Illinois from 1952-1955, and organist/choir director at the United Church of Christ in Milford, Connecticut from 1955-1957. He served as organist of the University Chapel and Perkins School of Theology, Southern Methodist University, Dallas, Texas from 1960 until retirement.

Anderson was also the summer organist and choir master at the First Methodist Church in Evanston, Illinois. He received the American Guild of Organists’ Associate Certificate (AAGO) at First United Methodist Church at Oak Park in 1955. He received his Fellow Certificate (FAGO) in September of 1957. Anderson studied organ with Heinrich Fleischer and Frederick Marriott, composition with Harold Friedell and Seth Bingham, and harpsichord with Maria Jager.

His composition studies continued at Union Theological Seminary, New York with Harold Friedell (Master of Sacred Music, magna cum laude, 1957; Doctor of Sacred Music, 1961). His Fulbright scholarships to Germany (1957-1959) allowed him to study organ with Helmut Walcha during which time he continued perfecting his skills as an improviser. He returned to Union Seminary to continue his study of composition with Seth Bingham. His final project was the composition of a cantata, “Garden of Gethsemane” on a text by Boris Pasternak. His “Triptych” was composed in 1958 and played by Robert Baker, his teacher at Union, at that year’s National Convention of the American Guild of Organists in Houston, Texas.

From 1960 to 1996 he served as Professor of Organ and Sacred Music at Southern Methodist University. Thus Dallas was Anderson’s home for almost all of his professional life. His honors include Distinguished Alumnus, Illinois Wesleyan University in 1972; First Meadows Distinguished Teaching Professor, Southern Methodist University, 1981; and Distinguished University Professor, 1996.

It was through Anderson’s insistence on high quality and perfectionism that the Fisk organs came to be built for Meyerson Symphony Center in Dallas and the Caruth Auditorium at Southern Methodist University. He served as organ consultant for both instruments.

Widely known as “RTA”, Anderson’s reputation as a pedagogue was legendary and he was known as a fantastic and inspiring teacher. He was extremely demanding and knew how to get the very best out of each student. He leaves behind a legacy of brilliant students, the concert artists of today, including Dr. George Baker, Mary Preston, Wolfgang Rubsam, Carole Terry, Bruce Bengtson, Ross Wood, John Chapell Stowe, Stefan Engels, and scores of others. He demanded much from his students, but he gave back all that he had to give to help and nurture them. He freely shared his immense personal library of books, recordings and musical scores.

Anderson died on May 29, 2009 in Honolulu, Hawaii after a long battle with Parkinson’s disease.

Source: Obituary written by Dorothy Faller, Scott Cantrell, and Robert Baker. 2009. Box 1, Folder 35.

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Scope and Contents of the Collection

The Robert T. Anderson papers reflect Anderson’s life as a musician and academic. The collection is divided into ten series that illustrate his love of music, teaching, and travelling. Researchers should note that the Christmas letters at the beginning of series 2 provide annual summaries of Anderson’s life for over twenty years. These letters became shorter as Parkinson’s disease claimed more of his faculties. This collection consists of 48 boxes. 22 shoebox-size cassette boxes house part of his audio collection, one oversize box contains posters, and one box containing student grades is restricted due to the Family Educational Rights and Privacy Act (FERPA).

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Arrangement of the Collection

The collection is organized into 11 series:
Series 1: Personal papers, 1941-2009
Series 2: Correspondence, 1950s-2000s
Series 3: Teaching materials, 1955-2004
Series 4: SMU organs and organ consulting, 1964-2006
Series 5: Manuscript music, 1950-1995
Series 6: Publications, 1928-2005
Series 7: Programs, 1949-2000
Series 8: Audio, 1951-1994
Series 9: Video, 1985-1995
Series 10: Photographs and slides, 1940s-2000s
Series 11: Prints, 1970-1996

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Restrictions

Access to Collection:

Collection is open for research use except for all student records in box 42. This box is subject to the Family Educational Rights and Privacy Act (FERPA) restrictions of 75 years from the date of creation of the record.

Publication Rights:

Permission to publish materials must be obtained from the Director of the DeGolyer Library.

Copyright Statement:

It is the responsibility of the user to obtain copyright authorization.

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Access Terms

This collection is indexed under the following terms in the Southern Methodist University Libraries' online catalog. Researchers desiring related materials may search the catalog using these terms.
Subjects (Persons)
Anderson, Robert T.
Subjects (Organizations)
Southern Methodist University – History.
Occupation
Organists – United States.
Subjects
Southern Methodist University – Faculty.
Southern Methodist University – Perkins Chapel.
Organ (Musical instrument) -– Instruction and study.
Universities and colleges -- Texas – Dallas.
Document types
Correspondence.
Photographs.
Programs.
Musical works.
Manuscripts for publication.

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Related Materials

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Administrative Information

Preferred Citation

Robert T. Anderson papers, Southern Methodist University Archives, DeGolyer Library, Southern Methodist University.

Acquisition Information

Gift, Dorothy Faller, 2009, 2016.

Transfer, Larry Palmer, 2010.

Transfer, Hamon Library, 2011, 2014.

Processing Information

Materials were boxed by the family and mailed to SMU in 2009 and in 2016. The family sorted most of the collection by format, but did not retain Anderson’s original order. Correspondence seemed to be grouped by person, then chronologically, so this order was maintained. The teaching files were organized by musical periods. All audio, video, photographs were ordered chronologically as they did not appear to be in any order in the boxes in which they were shipped.

All of the slides were wrapped in foil bricks and numbered in black permanent marker on the outside. Slides were organized by reel number and placed in slide sheets. Most of the slides were not individually numbered, so the order in which they were wrapped was preserved. When slides were numbered individually, they were kept in a numbered series. Some foil bricks had double-sided- taped captions, which were transcribed and housed with the slides.

Framed items were unframed and the oversize items placed in an oversize box at the end of the collection. Three boxes of musical scores and publications were transferred from Hamon Library in 2011 and 2014. In 2016 additional music manuscripts were donated by Dorothy Faller, so the archivist created separate series for music manuscripts and publications.

All student folders containing grades were placed in a restricted box, according to FERPA restrictions.

Collection processed and finding aid written by Cynthia Franco, 2011-2016.

Encoded by

Cynthia Franco, 2014, 2016.

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Detailed Description of the Collection

Series 1:Personal papers, 1941-2009
4 boxes

This series contains documents regarding the life and career of Robert Anderson. Included are elementary school report cards, correspondence regarding the growth of the Meadows School of the Arts, medical condition information, and memorials. Materials from Anderson’s college studies were added to his papers in 2011, and in 2014 his recital files were added to box 46. Included is his thesis for Union Theological Seminary.
BoxFolder
11Biographical Information
2-3Publicity
4Passport and identification cards
5Membership cards
6Ted Anderson [father] newsclipping
7Early education, 1941-1947
8Hyde Park High School, 1951-1979
9Illinois Wesleyan University, 1953-1972
10American Guild of Organists exams, 1955-1957
BoxFolder
431-2Papers on organ studies, Union Theological Seminary, 1956-1957
3Papers on organ studies, Union Theological Seminary, 1960
4Union Theological Seminary thesis: “Johann Sebastian Bach: Johannes Passion,” 1960
BoxFolder
411Union Theological Seminary certificates: Master of Sacred Music (1957) and Doctor of Sacred Music (1961)
BoxFolder
111Pi Kappa Lambda certificate, 1963
12Dallas house design and furniture, 1968-1988
13SMU organ department, 1967-1995
14Concert tours list, 1967-1987
BoxFolder
461Mostly handwritten concert program drafts, 1981-1983
2Recitals [handwritten program drafts], 1985-1988
3Methodist University of Piracicaba, Brazil, 1996
4Recitals, 1978-1989
5Recitals, 1990-1991
6Recitals, 1991-1996
BoxFolder
115Summer expenses and notes, 1976-1989
16Business card, key fob, luggage tag, brass name plate
1725 years at SMU; Portrait and nameplate for “SMU 30 years of service”
18 SMU Fall leave, 1984 [Chartres International Organ competition]
19 Vita, self-evaluation, faculty load reports, 1993-1996
20 SMU University Distinguished Professor, 1981-1996
21 1997 Seville car maintenance, 1997-2000
22SMU convocation, 1994, 1995, and 1998
23SMU baccalaureate, 1977-1995
24Fax stationery, 1998
25 [Miscellaneous handwritten list]
26 Bookplate for Bridwell Library gift collection
27 Life insurance
28 SMU retirement, 1964-1996
29 Speech for Heart Patient of the Year award, 1995
30 Medical condition, 2001-2002
31 Hawaii Kai Retirement Community, 2001-2006
32 SMU directory of students, staff, and faculty 2008-2009
33Certificate of Appreciation from the American Guild of Organists, 1992
33Contributions to the American Guild of Organists Scholarship Fund from Robert T. Anderson [and generic AGO fundraising letters], 2002-2009
34 Dallas AGO, 2008
35 Memorial planning
36 Memorials and obituaries
37 Tribute and remembrances of Robert Anderson
38 Obituaries
39 Memorial display materials
40 Two memorial guest books
Box
40Plaques, 1981-1996
Academic cap
“Robert Anderson” organ stop
Dallas International Organ Competition t-shirt
Signed card from students; 1975 fabric card “You kids will be the death of me yet” signed by students
Lunch bag
Fraternal pins
Leather coin purse
Office door nameplate
Paperweights
Box of assorted business and membership cards [Included in the box of business cards is a Kuby’s Sausage House Private Club Lifetime Membership card.]

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Series 2:Correspondence, 1950s-2000s
3 boxes

This series begins with Anderson’s annual Christmas letters, which provide information on his concertizing, students, and family. Notable correspondents include various organists (some are former students) and composers. The SMU section contains correspondence from SMU staff and faculty.
BoxFolder
21Christmas letters, 1979-1999
2 Christmas letters, 2000s
3 Letter to his parents, safety deposit box key, 1959
4 Dorothy and Adolf Faller [sister and brother-in-law]
5 Ron Anderson, 1968-1989 [brother]
6 Family letters, 1972-1979
7 Condolence letters following the death of his mother, 1979
8 Albright, William
9 Aeolian-Skinner Organ Company
10 Alain, Marie-Claire
11 Albrecht, Annette [Preston Hollow Methodist Church]
12-13 Anderson, Chris, 1991-2005
14 Baer, John [Dallas Symphony Orchestra]
15 Baker, George
16 Barone, Michael
17 Bolcom, William
18 Bice, Peter
19 Bommer, David
20 Bovet, Guy
21 Cantrell, Scott
22 Carney, Michael
23 AGO Hawaii and Kathy Crosier
24 Catherine Crozier
25 Damm, Walter
26 Dello Joio, Norman
27 Dirst, Matthew
28-37 Dominick family [Klaus and Heide] 1984-2000
38 Dominick, Lutz
39 Engels, Stefan
40 Fagius, Hans
41 Fisk, C.B.
42 Goodwin, Steuart
43 Guillou, Jean
44-48 Hilmes, Oliver, 1989-1998
BoxFolder
31Jeans, Lady Susi
2 Kim, Inwa
3 Kuby, Karl F.
4 Langlais, Jean
5 Lindh, Jody
6 Merritt, Tim
7-10 Nurnberger, Uwe, 1985-2003
11 Palmer, Larry
12 Persichetti, Vincent
13 Pfautsch, Lloyd
14 Preston, Mary
15 Roberts, Steve
16 [Publishers]
17 Ross, Howard
18 Rosson, Brian
19 Rubsam, Wolfgang
20 SMU, A-L
21 SMU, M-R
22 SMU, S-T
23-26 SMU Confidential, 1960-1981
27 Stark, Dennis
28 Terry, Carole
29 Usher, Ken
30 Walcha, Helmut
31 Wong, Mark
32 Unidentified correspondence
33 A-B
34 C-D
35 E-G
36 H
37 J
38 K-L
39 M-N
40 P
41 R
42 S
43 T-W
BoxFolder
41-3 Appointment books, 1981-1999
4 Address books
5 Friends’ addresses
6 Mailing lists
7 Contact list, addresses
8 Blank Christmas cards, 1960-1980

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Series 3:Teaching materials, 1955-2004
4 boxes

This series contains repertoire lists, syllabi, favorite student papers, and subject files for the various music classes Anderson taught. Folders 20-31 in box 6 contain information on the various trips by Anderson, some of which included recitals, and some were organ tours with colleagues.
BoxFolder
49 Remembrances of Walcha
10 [Various articles on Walcha, organ technique, cantantibus organis]
11 Perkins Chapel, 1955-2000
12 Perkins Chapel contracts
13 Organ repertoire 1967 list
14 Basic repertoire 1968 list plus revised list, [includes 1967 list]
15 Stevlingson, April 8, 1974 [music bibliography]
16 Organ mass
17 Service music repertoire lists, 1981-1992
18 Creative service playing workbook by Preston Rockholt
19 Church music workshop, Madison, Wisconsin, 1985
20 Notes on music
21 Organ literature syllabi, 1966-1990
22 Organ literature
23 Organ literature class
BoxFolder
51 Organ builders
2 Organ survey class teaching materials
3 Organ survey
4 Organ survey- organbuilding
5 Good organ info
6 “The Organist …A Total Musician” teacher’s guide
7 Organ repertoire class
8 “A Survey of the Organ and Its Literature Before 1500” by Garnet Menger, 1973 [student essay for organ repertoire class]
9 Chorale prelude
10 Toccata
11 Iberian 16-18th century
12 Italian
13 English literature
14 French classic
15 Bach research articles
16 Bach registration research – copies
17 Bach – Providence, include notes on registration, 1982
18 [J.S. Bach newsclipping and 3 notepads on performance practice and registration of Bach’s organ music, 1982-2000]
19 Kurt Beals – Bach Te Deum
20 Bach Press, 1985 [newsclippings]
21 American Bach Society
22 German Baroque
23 Central German
24 German Romantic
25 French Romantic
26 Viennese Classical, “The Organ Literature of the Post-Bach Period” by David L. Brown, 1976 [student essay for advanced organ repertoire class]
27 “Exploring the Romantic Organ in Europe” manuscript by Robert T. Anderson, 1988
28 American Romantic and contemporary
29 Contemporary American
30 Contemporary
31 Olivier Messiaen
32 Articles on Olivier Messiaen
33Swedish organ music bibliography
BoxFolder
61 Lady Susi Jeans
2 Tagliavini – Spanish
3 Michael Brignogan Ferguson composition and letter from Jeff Davis, 1991
4 Ullrich Bohme, 2000
5 Marie-Madeleine Durufle-Chevalier, 2000
6 Contemporary organ styles, design and organ purchase
7 AGO organ pedagogy conference lecture notes, 1977-1996
8 Brantigan, C.O. “Effect of beta blockade and beta stimulation on stage fright”. American Journal of Medicine 72 (1982): 88-94.
9 Notes on Harmon workshops, 1984
10 [July 12, 1994 notes and handouts regarding Tournemire, Mendelssohn, Bruckner]
11 Notes and handouts for lectures on George Crowell and Karl-Joseph Riepp
12 Max Reger postcards and brochure
13 “Essays on Music History: a Birthday Offering for Herbert Turrentine,” 1988
14 [Miscellaneous newsclippings, 1988]
15 Houston, June 1997: Franck, Widor and their Contemporaries organ symposium
16 AGO conference, Colorado 1998
17 First United Methodist Church Dallas brochure on organ dedication, 2003; Letter from Steve and newsclipping
18 [Fragment of New York Times article on Disney Hall organ, 2004]
19 Wanamaker organ; Chicago stadium organ
Tours
BoxFolder
620 European organ study tour, 1971
21 Mexico, 1978-1983
22 Stockholm Cathedral, 1981
23 Japan, 1979-1982
24 Concours International D’Orgue Grand Prix de Chartres, 1984
25 1993 trip
26 Europe, 1994
27 Austria, 1996
28 Brazil, 1996
29 Europe, 1998
30 Santa Fe, 1998
31 South Africa, 1998
Box
42Student grades and papers 1960-1990s [Restricted: All student records subject to the Family Educational Rights and Privacy Act (FERPA) restrictions of 75 years from the date of creation of the record.]

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Series 4:SMU organs and organ consulting, 1964-2006
3 boxes

Box 6 contains information on the organs in the Meadows School of the Arts at SMU. An Aeolian-Skinner organ op.1438 was installed in Caruth Auditorium in the 1962 and later C.B. Fisk installed a new organ for the Auditorium, op. 101, in 1993. Anderson was very involved in the design and installation process of these organs, as he was with various organs around the country. Box 7 contains Anderson’s files on the C.B. Fisk organ op.100 installed in the Morton H. Meyerson Symphony Center in 1992, as well as his work with the Philadelphia Regional Performing Arts Center. Box 46 contains files related to his service playing at Perkins Chapel.
BoxFolder
632 SMU organs/Sipe/Fisk
33-34 SMU organs
35 SMU Caruth Auditorium Aeolian-Skinner organ specifications
36 SMU Caruth Auditorium Aeolian-Skinner organ specifications
37 SMU Caruth Auditorium Aeolian-Skinner organ plans
38 SMU Caruth Auditorium Aeolian-Skinner organ, 1966-1969
39-40 SMU Caruth Auditorium Aeolian-Skinner organ
BoxFolder
71-3 SMU Caruth Auditorium Aeolian-Skinner organ
4 C.B. Fisk organ, Opus 101, 1993: Robert T. Anderson and Wolfgang Rubsam performance on CD
5 New SMU practice organs, 1964-1984
6 Chamber organ [SMU Kern Positive organ], 1987
7 Spanish organ [Meadows Museum], 1975-1992
Organ consulting
BoxFolder
78 Organ consulting
9 Organ consulting contract forms
10 Dallas organ builders
11 New organs in Dallas area, 1989
12 [Dallas] Symphony Hall, 1982-1983
13 C.B. Fisk
14C.B. Fisk - Pipeline newsletter, 1993-2006
15-16 C.B. Fisk-Meyerson
17 Meyerson organ publicity
18 Action [Dallas International Organ Competition]
19 Dallas International Organ Competition
20 Newsclippings – Meyerson/Dallas International Organ Competition
21 Kirkegaard and Associates
22 Philadelphia [organ in Concert Hall of the Regional Performing Arts Center], 1999
BoxFolder
445International Society of Organbuilders – 2 three-ring binders
BoxFolder
467Chapel Choir, 1983-1987
8Chapel Choir correspondence, 1988
9Lent worship notes, 1985
10Christmas carol services
11Minister’s Week, 1988-1996
12Chapel Choir, 1991-1994
13Chapel Choir, 1994-1996
14Perkins Chapel Choir anthem planner, Spring 1996
15Special service programs from Perkins Chapel, 1965-1991
16Christmas worship service programs, 1960-1995
17Chapel concerts, 1975, 1984
18Brass and organ music scores
19Service music
20Old service music
21Roy Redman tuning records for Perkins Chapel organ

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Series 5:Manuscript music, 1950-1995
3 boxes

Most of the music scores are handwritten scores by Robert Anderson, arranged in chronological order. For Robert Anderson’s published music, see the first folder in box 8. The last folder in this series contains manuscript music written by other composers.
BoxFolder
43X 1 Minuet in A, March 1950
2 Theme and Variations in G Minor, September 27, 1950
3 Bouree in D Major, October 1950
4 Midwinter. Words by John Townsend Trobridge. November 1950 [Voice and piano]
5 Scherzo, December 1950 [piano]
6 Class Song – June ’51 “We Must Say Good-bye” [Voice and piano]
7 Two Pieces for Flute and Piano – I. Lent II. Vif. Dedicated to Jean B. Wideroe, 1952
8 Sing Unto the Lord, 1953 [SATB, organ]
9 Qui Vult Venire – 2-voiced motet, 1953
10 Winter Wind, March 6, 1953 [voice and piano, words by E. Fordan]
11 Fugue in D, 1954 [piano]
12 Chorale in G Minor for Organ [1950s-1954?]
13 Passacaglia for Organ on the Southern Folk-hymn “The Saints’ Delight,” 1954
14 Rondo in D, 1954 [organ]
15 Sonata for Oboe and Piano, 1954
16 Three Sketches for Organ, 1954-1955
17 Were You There? Arr. for Tenor-Bass (Solo or Chorus), 1954
18 Ermuntre Dich, Mein Schwacher Geist, 1955 [organ]
19 The Eucharist, 1955 [SATB]
20 Fantasia for Piano, 1955
21 Hodie, Christus Natus Est – Motet for Mixed Voices, 1955
22 Mr. Brown, to Alpha Lambda of Phi Mu Alpha, 1955 [TTBB]
23 Rejoice the Lord is King, 1955 [choir and organ]
24 Toccata, 1955 [organ]
25 Two Chorale Preludes for Organ – I. Jesu, My Joy II. The New-born Christ Child, 1955
26 Festival Voluntary, 1956 [organ, with flyer for Saint Mark’s Church third annual composers’ competition for the Feast of St. Mark]
27 A Joyful Thanksgiving – Sacred Song for Soprano and Organ, 1956
28 Benedic, Anima Mea, 1956 [SATB and organ]
29 Sonata I for Organ, 1956
BoxFolder
47X 1 Two Extemporizations for Organ, 1956
2 We Sing of God, Solo Cantata for Medium Voice, Scored for Organ, Oboe, Violins I and II, 1956
3 Te Deum, 1957 [choir and organ]
4 Tobias and the Angel. Play by James Bridie, music by Robert Anderson. March 1957
5 Triptych, to my esteemed teacher Robert Baker, 1957-1958 [organ]
6 Why Should I Call Thee Lord? Sacred Song for Baritone and Organ, 1957
7 Give Ear lord, Unto My Prayer. Solo for Contralto and Organ, 1959
8 Organ Prelude on “Tender Thought” (Kentucky Harmony 1816), 1959
9 Prelude and Double Fugue in d, 1959 [organ]
10 Cantata: Garden of Gethsemane, 1961 [written for graduation from Union Theological Seminary; four scores]
11 Fugue in D, 1954 [piano]
12 Chorale in G Minor for Organ [1950s-1954?]
13 Passacaglia for Organ on the Southern Folk-hymn “The Saints’ Delight,” 1954
14 Rondo in D, 1954 [organ]
15 Sonata for Oboe and Piano, 1954
16 Three Sketches for Organ, 1954-1955
17 Were You There? Arr. for Tenor-Bass (Solo or Chorus), 1954
18 Ermuntre Dich, Mein Schwacher Geist, 1955 [organ]
19 The Eucharist, 1955 [SATB]
20 Fantasia for Piano, 1955
21 Hodie, Christus Natus Est – Motet for Mixed Voices, 1955
22 Mr. Brown, to Alpha Lambda of Phi Mu Alpha, 1955 [TTBB]
23 Rejoice the Lord is King, 1955 [choir and organ]
24 Toccata, 1955 [organ]
25 Two Chorale Preludes for Organ – I. Jesu, My Joy II. The New-born Christ Child, 1955
26 Festival Voluntary, 1956 [organ, with flyer for Saint Mark’s Church third annual composers’ competition for the Feast of St. Mark]
27 A Joyful Thanksgiving – Sacred Song for Soprano and Organ, 1956
28 Benedic, Anima Mea, 1956 [SATB and organ]
29 Sonata I for Organ, 1956
BoxFolder
48X 1 Lord, Thou Hast Searched Me - choral paraphrase incorporating the tunes
2 Voluntary on the 100th Psalm Tune for Organ – Commissioned by University Park Methodist Church, Dallas, Texas for the Twenty-fifth Anniversary of the Church, November 1964
3 Two Hymn-tune Preludes for Organ – I. Prelude on”Kingdom” II. Prelude on “Wylde Green”, written for the 1967 Contemporary Arts Festival, Boston Avenue Methodist Church, Tulsa, 1967
4 Undated music by Robert Anderson:
4 Birds’ Courtin Song
4 Descant – Crown Him with Many Crowns
4 Ein Feste Burg Chorale Partite
4 Hoolaulea for 2 Organs (2 copies)
4 Introit [SATB]
4 Motet for Two Voices in Canon
4 Leoni [piano]
4 Rejoice [SATB]
4 Wachet auf ruft uns die Stimme Aria
4 Wir Christenleut [organ]
4 Wondrous Love [voice and piano]
5 Untitled and undated music by Robert Anderson
6 Manuscripts by other composers:
6 Ye Men of Galilee: A Piece for Organ Based on Spoken Introit for Ascension Day by James Case, 1963
6 Laudation for Organ Solo by Norman Dello Joio. [Commissioned by SMU and Aeolian Skinner for the dedication of new Aeolian-Skinner organ at SMU] October, 1965.
6 Aria fur Oboe und Orgel by Georg Knoll. [photocopy taped to 6 cardboard pieces]
6 Hymn Prelude on “Warrenton” by Lloyd Pfautsch, October 20, 1963
6 In Time of AIDS for Mixed Choir and Organ by Simon Sargon, July 7, 1995

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Series 6:Publications, 1928-2005
6 boxes

All published organ and piano works contain Anderson’s handwritten notations. The first folder contains Anderson’s published works. Published works by other composers, humor files, and miscellaneous newsclippings are included in this series. Some of the Bach works are from the period when Anderson studied with Helmut Walcha. The random issues of periodicals were transferred from the organ studio in Meadows School of the Arts.
BoxFolder
81 Robert Anderson’s published music:
1 Lord, Thou Hast Searched Me. New York: Lawson-Gould Music Publishers, 1965.
1 Hodie, Christus Natus Est. New York: Lawson-Gould Music Publishers, 1971.
1 Communion Prelude on “Kingdom.” Nashville: Abingdon, 1978.
1 Rejoice the Lord is King. Carol Stream, Ill.: Hope Publishing Company, 1983.
BoxFolder
48X7Bach, J.S. Kyrie, Gott heiliger Geist and Aus tiefer Not schrei ich zu dir. [oversize manuscript]
BoxFolder
82 Bach, J.S. Konzert für die Orgel mit zwei Manualen und Pedal von J. S. Bach nach Vivaldi. Erste Ausgabe von Friedrich Konrad Griepenkerl. Leipzig: C.F. Peters Corporation.
2 Bach, J.S. Orgelwerke, Kritisch-korrekte Ausgabe Friedrich Conrad Griepenkerl und Ferdinand Roitzsch. Bd. 1-3, 5-9. Leipzig: C.F. Peters Corporation.
2 Bach, J.S. Toccata et Fuga C-Dur, BWV 564 and Kommst du nun, Jesu, vom himmel herunter, BWV 650.
2 Bach. J.S. Trio super: Herr Jesu Christ, dich zu uns wend, BWV 655.
2 Bach. J.S. Orgelbuchlein und andere kleine Choralvorspiele herausgegeben von Hermann Keller. Kassel: Barenreiter. [1928].
2 Bach, J.S. Ricercare a 6 voci aus dem Musikalischen Opfer fur die Orgel eingerichtet von Herman Keller. Leipzig: C.F. Peters Corporation, 1942.
2 Bach, J.S. Das Wohltemperierte Klavier. Teil II. Munchen: G. Henle-Verlag, 1950.
2 Bach, J.S. Three Extended Chorales from Church Cantatas arranged for organ solo by Stainton de B. Taylor. London: Hinrichsen Edition Ltd., 1952.
2 Bach, J.S. Ricercare a 6 voci aus dem Musikalischen Opfer Partitur-Orgelubertragung von Helmut Walcha. Frankfurt: Henry Litolff’s Verlag, 1964.
BoxFolder
48X8Best, Harold M. Toccata.
8Boulanger, Lili. Pie Jesu pour Chant Quatuor a Cordes, Harpe et Orgue. Paris: Durand, 1924.
8Brautigam, Volker. Freundlicher Zuruf. Leipzig: VEB Deutscher Verlag fur Musik Leipzig, 1972.
8 Crawford, Thomas. Eucharistic Ordinary for Rite II for Congregation, Mixed Voices and Organ According to the ICET text. Bryn Mawr, Pennsylvania: Merion Music, 1982.
9Frierson, Andrew. O Li’l Lamb. Carol Stream, Illinois: Agape, 1973.
9 Honegger, Arthur. O Salutaris pour Soprano. Paris: Au Menestrel, 1943.
9Hughes, Herbert. The Stuttering Lovers. London: Chappell and Co., 1906.
BoxFolder
82 Paulus, Stephen. Three Temperaments for Solo Organ. Saint Paul, Minn.: Paulus Publications.
BoxFolder
48X9Stuckey, Louis N. Southern Methodist University Varsity Song. Dallas, Texas: Harold Hart Todd, 1929.
9Wesley, Samuel Sebastian. Wash Me Throughly from my Wickedness. London: Novello and Company.
BoxFolder
83 20 songbooks
4 Robert Anderson published articles
5 Robert Anderson at the Redman organ, 1987, cassette liner notes and Mother Dubbers business card
6 Organ schools: Guilmant Organ School and Les Amis de l’Orgue (1930)
6 G Music catalogs
8-9 Humor
10Organ calendars 1973-1977; 2005 Mecklenburg-Vorpommern calendar
11Miscellaneous newsclippings
12Magazine subscriptions
13Periodicals – includes random issues of Acta Organa Logica
Box
9Periodicals – includes random issues of American Organist, L’Art Sacre, Bach-Jahrbuch, The Bach Year in America, Journal of the British Institute of Organ Studies, Cathedral Age, Courant, Keraulophon, Marbella Magazine, Musical Heritage Society catalogs, Musical Quarterly, Neue Bachgesellschaft, Organ Handbook, Organ Historical Society catalog, Het Orgel, Prism, Renaissance de l’Orgue, Sacred Music, Turnhahn.
BoxFolder
446Early Keyboard Studies Newsletter, 1993-1995; Newsletter of the Westfield Center, 1990s; Institute of Sacred Music Bulletin of Yale University, 1995
BoxFolder
451Organ brochures
2Tourist guidebooks
BoxFolder
4622Miscellaneous clippings

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Series 7:Programs, 1949-2000
4 boxes

Half of the materials from this series came from Anderson’s family and half were transferred from the organ studio in Meadows School of the Arts. Box 10 includes recital programs featuring other musicians, as well as Anderson. Researchers should note that Anderson was the service organist for Perkins Chapel from 1960-1995, and all of the church bulletins from this period are in box 12.
Box
9Conference programs, dedications etc. 1950-1988
Conference programs, dedications etc. 1989-2000
Box
10Robert T. Anderson recital programs, 1950-1995
Organ recital programs, 1949-1969
Box
11Organ recital programs, 1970-1996
Music programs, 1986-2007
SMU music programs, 1964-2001
Box
12Perkins Chapel Sunday bulletins, 1960-1995
Church bulletins, 1977-1982

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Series 8:Audio, 1951-1994
22 boxes

Music on audio reels includes organ recordings by Anderson and other organists, and various musical works. Cassette tapes are housed in smaller cassette tape boxes, with 3 oversize cassette cases in Box 34.
Reels
Box
13Handwritten inventory of audio collection
Amateur audio reels, 1951-1966
Box
14Amateur audio reels, 1967-1974
Box
15Amateur audio reels, 1975-1980
Box
16Amateur audio reels, 1980 and undated
2 reels of Anderson’s recording session in Japan [format 50—120B]
Cassettes
Box
171966-1981
Box
18 1982-1984
Box
19 1984-1985
Box
20 1985
Box
21 1985-1987
Box
22 1987-1988
Box
23 1988-1990
Box
24 1990-1991
Box
25 1992-1994
Box
26 A-B, undated
Box
27 B-H, undated
Box
28 H-R, undated
Box
29 R-W, undated
Box
30 Blank cassettes/unidentified, undated
Box
31 American Guild of Organists
Box
32-33 Commercially produced cassettes of various musical works
Box
34Baker, Robert S. Vintage Baker: 1956-1986, Organ and Choral Works performed, conducted by Robert S. Baker.
Anderson, Robert T. and Kenneth Hart. Vocal Solos for Weddings. American Guild of Organists, 1992.
Radulescu, Michael. Lecture-recital: Orgelbuchlein, Johann Sebastian Bach. American Guild of Organists, 1991.
Celebrating the Completion of the Renovation of the Salt Lake Tabernacle Organ, Salt Lake City, Utah, January 19-22, 1989. American Guild of Organists, 1989.
Fox, Michael J. Lucky Man: a Memoir. Read by the author. New York: Simon and Schuster Audio, 2002.

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Series 9:Video, 1985-1995
1 box

This box contains both amateur and commercially produced videotapes of music performances.
BoxFolder
349“Robert Anderson, 1/4/1985, Digital master.” 3M Scotch UCA 60 color plus videocassette. [3 cassettes]
9“Robert Anderson, Swank #172. 13 KERA-TV.” Dallas, Texas. 3M Scotch UCA 30 Videocassette.
9“RTA KERA 1/85: Meadows Caetano video.” VHS.
9“Matthew Dirst, Caruth [Auditorium] 4/7/85.” VHS.
9“The Organist, a Total Musician.” VHS
9“Redlands, CA, 1989.” VHS
9The Art of Improvisation I with Harald Vogel, director, The North German Organ Academy. American Organ Academy, 1992. VHS.
9“Brian Garner Special Events 1994.” VHS
9“Edward Windsor 10/98.” VHS
9“This is Compaq Brazil, August 1995.” VHS
9“Gonzaga University Christmas Concert 1994.” VHS
9Bovet, Guy. The Joy of the Organ. VHS.
9“Stations of Bach. Frozen Music – The Meyerson.” VHS
9“A Trip Down Memory Lane with Jack Horenberger and Dennie Bridges to Meet the Kresge Challenge.” VHS
9“Ashorkopie[?] Robert Anderson”. Beta videocassette.
9“Copy of U-matic Souy 1630 Mosher. R.T. Anderson, Granada Hills, Presbyterian Church, Rosales.” Beta videocassette.

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Series 10:Photographs and slides, 1940s-2000s
5 boxes

This series is in two parts arranged by format. The blue baby photograph book is notable because it includes a list of Anderson’s early childhood music teachers. Photographs of his time with Helmut Walcha and his fellow students are also included. The first three folders of box 38 include handwritten and typed captions for almost all of Anderson’s slides. Slides are arranged by reel number. Most of the slides are not individually numbered, so they are arranged in the order in which they were wrapped. When slides are numbered individually, they are kept in the same numbered series. Some foil bricks had double-sided- taped captions, which were transcribed and foldered with the slides.
Photographs
BoxFolder
351Baby photograph books
2 Family photographs
3 1950s
4 Helmut Walcha
5-6 1960s
7 Europe, 1967
8 Deiningers
9-11 1970s
BoxFolder
361-2 1970s
3 Anderson’s students and Marie-Claire Alain, [1970s]
4 Organ tour, 1971
5 Tours, 1976
6 Lady Susi Jeans, 1978
7 Japan, 1979
8 Portraits, 1980s
9 1980s
10-11 Polaroids, 1980s
12 Students, 1980s
BoxFolder
371-3 1990s
4 Kuby’s photograph album
5 Rima and Brett, 1995
6 Hawaii
7 2000s
8 6810 Stichter, Dallas, Texas
9 Teaching
10 SMU portraits, undated
11 Undated photograph of Anderson at organ
12 Photographs of organs
13 Postcards of organs
14 6 prints of organs
Slides
BoxFolder
381 Slide captions for reels 1-34
2 Slide captions for reels 35-61
3 Slide captions mostly for Hawaii AGO lecture, October 21, 2003
41976 and misc. earlier 1962 and 1964 reel 1
5 Europe I, 1977, reel 2
6 [Europe] II, reel 3
7 December, 1977-January 1978, reel 4
8 Mexico, 1977-1978, reel 5
9 1978, reel 6
10 Swedish? (all dark), 1980, reel 7
11 Europe I, 1978, reel 8
12 [1978], reel 9
13 Europe IV Spain Salamanca Segovia Aqueduct, 1978, reel 11
14 Honolulu and family, 1979, reel 12
15 [Japan, 1979], reel 13
16 [Japan, 1979], reel 14
17 [1979], reel 14A
18 1979 East Germany, Bach, Leipzig, reel 15
19 Dresden Hof Kirche, 1979, reel 16
20 [Marie-Claire Alain home, France, 1979], reel 17
21 [Holland, 1980?], reel 19
22 Europe, Holland, France, Germany, and Scandinavia, 1980, reel 20
23 Europe, 1980, reel 22
24 Mechenheim Germany, organ taken 1981, reel 24
25 [1982], reel 25

Inhaltsverzeichnis

1. Einleitungsteil/ Vorgehensweise

2. Hauptteil
2.1 Analyse des Essays Der Bau des epischen Werks
2.2 Theorie und Praxis
2.3 Erzählerrolle in Theorie und Praxis

3. Schlussteil/ Fragestellung

4. Literaturverzeichnis

1. Einleitungsteil/ Vorgehensweise

Alfred Döblins Essay Der Bau des epischen Werks liest sich wie eine fast deckungsgleiche Anleitung zur Niederschrift des Romans Berlin Alexanderplatz. Die Geschichte vom Franz Biberkopf.[1] Der genannte Aufsatz entstand 1928 parallel zur Arbeit am Roman, weshalb hier zunächst Form und Inhalt sowie das für die Seminararbeit Wesentliche des Aufsatzes analysiert und im nächsten Schritt erläutert wird, inwieweit Döblin seine Überlegungen praktisch umgesetzt hat, indem Parallelen zwischen beiden Texten aufgezeigt werden.[2] Der Schwerpunkt der dann folgenden, ebenfalls vergleichenden Analysen liegt auf der Untersuchung der vorhandenen inhaltlichen Thematik sowie der Erzählerrolle vor dem Hintergrund der heutigen Erzähltheorie[3] und Ziolkowskis Interpretation zum Roman[4].

Der Schlussteil der Seminararbeit antwortet auf die Frage, inwieweit Döblin seine selbst gesetzten Postulate erfüllt hat.

Alfred Döblins Aufsatz Der Bau des epischen Werks ist die Niederschrift seiner Akademie-Rede in Berlin vom 10. Dezember 1928. Thematisch behandelt der Text Döblins essayistische Ansichten über die sogenannte ,,Moderne Epik“. Der Aufsatz ist in acht Kapitel unterteilt, wobei jedem Abschnitt eine einleitende Überschrift vorausgeht. Das siebte Kapitel (Details vom Produktionsprozeß) ist darüber hinaus nochmals in drei Sinnabschnitte gegliedert. Inhaltlich erläutert Döblin seine Gedankengänge hinsichtlich der wesentlichen Merkmale des ,,epischen Werks“. So begründet er im ersten Abschnitt (Das epische Werk berichtet von einer Überrealität), weshalb der Bericht die passende Gebrauchsform des Epischen darstellt, warum man den ,,epischen Autor“ vom üblichen Romanschriftsteller unterscheidet und welchen Bezug zur Realität der ,,epische Künstler" für seine Texte herstellen sollte. Döblin fährt im nächsten Kapitel (Das epische Werk lehnt die Wirklichkeit ab) fort, indem er das Verhältnis des epischen Werks zur Wirklichkeit darstellt. Daraufhin zeigt er Ebenen der Berichtform auf. Das dritte Kapitel, Die Epik erzählt nichts Vergangenes, sondern stellt dar, befasst sich mit der technischen Frage nach der zu verwendenden Zeitform. Im darauffolgenden Abschnitt (Der Weg zur zukünftigen Epik) erklärt Döblin, wie sich das epische Kunstwerk in Zukunft formal entwickeln sollte und welche Rolle dem Künstler im eigenen Text zukommt. Daran anknüpfend beginnt er Hintergründe, Einflüsse und erste Entwicklungsstufen des Produktionsprozesses einer epischen Arbeit darzustellen (fünftes und sechstes Kapitel: Unterschied der heutigen individualistischen Produktionsweise von der früheren kollektiven und Schilderung des Inkubationsstadiums im heutigen Produktionsprozeß). Im dreifach unterteilten Kapitel Details vom Produktionsprozeß zeigt Alfred Döblin den weiteren Verlauf der Produktion eines epischen Werks. Außerdem werden hier innewohnende Merkmale und formale Prinzipien der Epik präsentiert. Im abschließenden achten Kapitel (Die Sprache im Produktionsprozeß) wird der Zusammenhang zwischen Sprache und Konzeption eines epischen Werks vorgestellt. Döblin spannt indes den Bogen zu sprachwissenschaftlichen Aspekten und nutzt die letzten Zeilen zu einem Resümee der für ihn wichtigsten Grundgedanken seines Aufsatzes.

2. Hauptteil

2.1 Analyse des Essays Der Bau des epischen Werks

Döblins literaturtheoretische Beiträge über Romanpoetik werden von Kleinschmidt als "keine wirklich festumrissene Programmatik", sondern eher als "offene Überlegungen"[5] bezeichnet, was gleichzeitig der Darstellungsform eines Essays entspricht.[6] Des Weiteren verweist er darauf, Döblin habe zwar den „Wille[n] zur theoretisch anmutenden Reflexion“ gehabt, doch fehlten seinen Schriften „klare [...] Definitionen und Inhalte.“[7] In Folge dessen wird gezeigt, dass der Essay „Der Bau des epischen Werks“ stellvertretend für Döblins so beschriebene theoretische Schriften ist. Gleich zu Beginn wird deutlich, dass es sich um einen eher unsystematischen Text handelt, da ohne einleitende Beschreibung der Vorgehensweise unvermittelt begonnen wird.[8] Zudem widersprechen die zahlreichen Wertungen, Kommentare und weiteren subjektiven, häufig ironischen Einschübe des Autors einer Charakterisierung des Textes als ausdrücklich wissenschaftlich, sachlich oder objektiv. Das herabsetzende, wiederholte Urteil („Nun, es ist zweifellos, hier wird so etwas wie berichtet. So etwas wie.“, SÄPL. S. 216) über die Berichtform eines „beliebigen Romans“ (Ebd.[9]) belegt exemplarisch die polemische Ausdrucksweise, die so charakteristisch für Alfred Döblins Umgang mit manchen seiner Schriftstellerkollegen gewesen ist, und zeigt gleichfalls die offene, lapidare Form des hier vorliegenden essayistischen Textes.[10] Die polemisch-provokante Behauptung, „auf den heutigen Autor“ sei „das Unglück des Buchdrucks gefallen“ (SÄPL. S. 229), unterstreicht dies zusätzlich. Die gedankliche, bildhafte Darstellung der inneren Vorgänge und Gefühle des Autors im sechsten Kapitel des Aufsatzes („Ich sitze stumm, [...] und ich bin, [...] gepackt oder sinnlos ergriffen, nein, fasziniert von einem Bild. Das ist [...] ein Seelenzustand von einer besonderen Helligkeit, [...] in der alles wie enträtselt ist und man das Gefühl hat wie Siegfried, als er am Drachenblut leckte“, SÄPL. S. 230/231) ist stellvertretend für das typische Charakteristikum eines Essays, in Folge dessen diese Literaturgattung „über Gedankenexperimente [...], mit stark eingefärbten Bildern und Denkmöglichkeiten“ ermöglicht, „einen Gegenstand auszuleuchten.“[11] Gegenüberstellend wird deutlich, dass der Autor sich trotzdem um Wissenschaftlichkeit seines Aufsatzes bemüht, indem er beispielsweise ein „spezifische[s] Kausalitätsgesetz im Epischen“ erläutert (SÄPL. S. 236), oder „Formgesetze“ seiner Epik formuliert (Vgl. siebtes Kapitel: Details vom Produktionsprozeß; c ) Dynamik und Proportion als Formgesetze und Mitschöpfer des Inhalts, SÄPL. S. 238). Die beiden unterschiedlichen Aspekte, des einerseits Bildhaft-Gedanklich-Literarischen sowie der andererseits erzeugten Verwissenschaftlichung, lassen auch für Döblins Essay Der Bau des epischen Werks den Schluss zu, dass er „Grenzgänger zwischen Literatur und Wissenschaft“ ist.[12]

Hiernach werden nun ausgesuchte erzähltheoretische Positionen des Essays betrachtet. Vor allem Döblins Darstellungen hinsichtlich der wechselseitigen Beziehung zwischen Autor und „epischem Kunstwerk“ und weitere formale Ansprüche an die Epik sind Gegenstände der Untersuchung. Im ersten Kapitel legitimiert Döblin die Berichtform als angemessene Darstellungsweise für das epische Werk („Der epische Künstler kann auch heute noch in vollem Ernst die Berichtform gebrauchen.“, SÄPL. S. 221). Er begründet dies darin, dass es neben der „Sphäre der historisch belegbaren Fakten noch eine [...] Existenzsphäre, von der man auch formal berichten [...] kann“ (SÄPL. S. 218) gebe, mahnt aber gleichzeitig, dass dies auch „einen Glauben“ (Ebd.) erfordere. Daraufhin erklärt er, man brauche, um einen Bericht episch werden zu lassen, „Grundsituationen, Elementarsituationen des menschlichen Daseins“ (Ebd.), da diese „sogar an Ursprünglichkeit, Wahrheit und Zeugungskraft über den zerlegten Tageswahrheiten“ (SÄPL. S. 219) stünden. Döblin glaubt auf diese Weise den epischen Künstler vom konventionellen Romanschriftsteller trennen zu können. Den hintergründigen Wirklichkeitsbezug eines solchen Romanschriftstellers bezeichnet Döblin als „einige Oberflächen der Realität“ (Ebd.) imitierend, während er abgrenzend vom Epiker verlangt, er müsse „ganz nah an die Realität heran, an ihre Sachlichkeit [...] und dann hat er die Sache zu durchstoßen.“ (Ebd.) Sander bezeichnet dieses Verständnis von Realität als „Vergeistigung [...] des faktischen, [...] die den ganzen Menschen und die universelle Wirklichkeit umfasst.“[13] Das zweite Kapitel führt die Gedankengänge des Autors über den Realitätsbezug der Epik fort. Döblin bezieht den Leser dort mit ein und behauptet, dass „wir“ uns „auf dem sehr stolzen und sehr menschenwürdigen Gebiet der freien Phantasie“ (SÄPL. S. 222) bewegten. Dies unterstreicht er anschließend mit der These, dass die epische Berichtform es dem Menschen ermögliche, „mit der Realität zu spielen“ (Ebd.), und die Dichtung noch unabhängiger von realen Konventionen als der Traum sei („Die Dichtung ist mehr als ein Traum.“, Ebd.). Im Zuge dessen bezeichnet Döblin diese gar als „Leichtigkeit und Verspottung“ (Ebd.) der Realität, begründet dies aber typisch essayistisch lediglich emotional („aber ist für unser Gefühl[...]“ und „ungeheuere Lustgewinn“, Ebd.). Zusammenhängend mit der Berichtform sieht er abschließend zwei „Kunstsphären“ in der Epik: „die phantastische und Fabuliersphäre“ als „Negation der realen Sphäre“ und „die überreale Sphäre“ als „Sphäre einer neuen Wahrheit und [...] besonderen Realität“ (SÄPL. S. 223). Im dritten Abschnitt äußert sich Döblin konkret zur technischen Frage der zu verwendenden Zeitform im epischen Werk. Er erklärt, dass alle „Darstellung [...] gegenwärtig“ sei, und bezeichnet folglich die Wahl der „Modi“ als „vollkommen gleichgültig“ (SÄPL. S. 224). Hiermit gesteht er dem Epiker formale Freiheiten in der Umsetzung seines Werkes zu, die später im Aufsatz in ein „Gesetz der Formlosigkeit“ (SÄPL. S. 236) und „Formgesetze“ (SÄPL. S. 238) münden. Darauffolgend - nachdem der „Berechtigungsnachweis“ (SÄPL. S. 221) für die Berichtform in der Epik eigentlich erbracht worden ist - fordert er im vierten Kapitel „in der epischen Arbeit entschlossen lyrisch, dramatisch, ja reflexiv zu sein“ (SÄPL. S. 225) und somit den Bericht nicht als einzige Art und Weise der Darstellung zu nutzen. Er insistiert weiter, sich von festen Formen befreien zu müssen, und sieht dafür den Ausweg in Verfremdungseffekten („die Wohltat der Betrachtung, des lyrischen oder spottenden Eingriffs, der freien wechselnden Kunstaktion, auch der direkten Rede an uns“, Ebd.) übertragen aus Drama und Theater. Döblin erneuert anschließend metaphorisch die Forderung, sich „im Epischen“ von der traditionellen, vorgefestigten Berichtform zu lösen („Diesen eisernen Vorhang rate ich hochzuziehen.“, Ebd.).

[...]



[1] Vgl. hierzu Kleinschmidt: „Werk und Kommentar gehen einen produktiven Zusammenhang miteinander ein und sind denn auch wechselseitig verschränkt zu lesen“ (Kleinschmidt, Erich: Nachwort, in: Alfred Döblin. Schriften zu Ästhetik, Poetik und Literatur. Hrsg. von Ebd. Olten / Freiburg i.Br.: Walter, 1989. S. 741.).

[2] Den Aufsatz präsentierte Döblin zunächst als Rede an der Berliner Universität am 10. Dezember 1928. Laut Sander ist diese als "sein wohl bedeutendster Beitrag zur Romanpoetik der Moderne anzusehen" (Sander, Gabriele: Alfred Döblin. Stuttgart: Reclam, 2001. S. 281.). Die Arbeiten am Roman sind "zu diesem Zeitpunkt zwar schon sehr weit gediehen[...], aber noch nicht abgeschlossen[...]" (Ebd.). Der Vortrag bilde demzufolge "dessen theoretisches Fundament", erklärt Sander weiter (Ebd.).

[3] Grundlage für diese Analyse bildet das literaturwissenschaftliche Werk Einführung in die Erzähltheorie von Martinez und Scheffel (Martinez, Matias und Scheffel, Michael: Einführung in die Erzähltheorie. 7. Aufl. München: C.H. Beck, 2007.).

[4] Ziolkowski, Theodore: Berlin Alexanderplatz, in: LGW-Interpretationen zu Alfred Döblin. Hrsg. von Ingrid Schuster. 1.Aufl. Stuttgart: Klett, 1980. S. 128 – 148.

[5] Kleinschmidt: Nachwort. S. 740.

[6] Zur Kennzeichnung der typischen Charakteristika des Essays wird die Einführung in die Neuere deutsche Literaturwissenschaft von Jeßing und Köhnen (Jeßing, Benedikt und Köhnen, Ralf: Einführung in die Neuere deutsche Literaturwissenschaft. 2., aktualisierte und erweiterte Aufl. Stuttgart / Weimar: J.B. Metzler, 2007. S. 210.) zur Grundlage genommen.

[7] Kleinschmidt: Nachwort. S. 740.

[8] Döblin, Alfred: Der Bau des epischen Werks, in: Schriften zu Ästhetik, Poetik und Literatur". Hrsg. von Erich Kleinschmidt. Olten / Freiburg i.Br.: Walter, 1989. S.215: „Ich beginne mit der Frage[...]“)

[9] Vgl. hierzu: SÄPL. S.658: „Es handelt sich um den [...] Roman Therese. Chronik eines Frauenlebens [...] des Wiener Dichter-Arztes Arthur Schnitzler.“

[10] Vgl. Kleinschmidt: Nachwort. S.740: „Eine strukturelle und argumentative Stimmigkeit kümmerte Döblin wenig. Pointierende Spontanität und oft auch bewusste Provokation sind die Antriebskräfte dieser Darstellungen [...]“.

[11] Jeßing und Köhnen: Einführung in die Neuere deutsche Literaturwissenschaft. S. 211.

[12] Jeßing und Köhnen: Einführung in die Neuere deutsche Literaturwissenschaft. S. 211.

[13] Sander: Alfred Döblin. S.282.

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