Zur Reflexion des Gefühls im Musikdenken - Emotion as reflected in musical thinking
What does it mean when Carl Philipp Emanuel Bach demands that a performing musician must himself be moved before he can move his listeners? The author writes about the idea of emotions and their role in the scenario of what is called music appreciation (from about 1750 till the present day). His focus is not primarily on the emotional content of music as such, but rather the way in which it is treated in thinking about music; not on the actual impact of emotions, but the way in which they have been thought about in a musical context, as concepts around which a theoretical discourse crystallizes.
XI Emotionally forsaken inwardness: Webern and other Expressionists
| 349 →
Emotionally forsaken inwardness Webern and other Expressionists
In 1906, Webern closed his diary with the following words: "Through our great, profound love we shall become perfect human beings, who only live for their inwardness and tend and nurture their souls"570. Many years later, at the earliest in 1940, he read Kurt Hildebrandt's Hölderlin monograph; one passage in particular gave him food for thought, so that he noted it down on the inside front cover with the heading "excessive inwardness" and the page reference. It is a quotation from Hölderlin's Grund zum Empedokles, which Hildebrandt comments on as follows: "when Empedokles realizes the goal of all becoming in the world, by representing the Universal Whole in the individual, he enters at the same time the realm of the impossible, since in such a moment the Universal Whole would be lost in the individual, the life of the world would die into non-being in this one particular part of the Whole. The fate of the world cannot realize the goal towards which the monad, through its titanic nature, must strive, it can 'never dissolve perceptibly into the individual'. The demigod and superman cannot himself become the Universal Whole"571.
Webern adopts "classical" explanatory models in order to justify and understand this change of paradigm, frequently invoking the authority of Hölderlin and sometimes of Goethe. The latter's poetological progression in three steps from "simple imitation of nature" via the...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.