Strict Standards: Declaration of Walker_Comment::start_lvl() should be compatible with Walker::start_lvl(&$output) in /home/public/wp-includes/comment-template.php on line 1266

Strict Standards: Declaration of Walker_Comment::end_lvl() should be compatible with Walker::end_lvl(&$output) in /home/public/wp-includes/comment-template.php on line 1266

Strict Standards: Declaration of Walker_Comment::start_el() should be compatible with Walker::start_el(&$output) in /home/public/wp-includes/comment-template.php on line 1266

Strict Standards: Declaration of Walker_Comment::end_el() should be compatible with Walker::end_el(&$output) in /home/public/wp-includes/comment-template.php on line 1266

Strict Standards: Redefining already defined constructor for class WP_Dependencies in /home/public/wp-includes/class.wp-dependencies.php on line 31

Strict Standards: Redefining already defined constructor for class WP_Http in /home/public/wp-includes/http.php on line 61
Die Kunst der Fuge › Jungheinrich
Skip to content

Jungheinrich

aus: Die Fuge als Idee des Absoluten
Klaus-Heinz Jungheinrich, in:
Dmitri Schostakowitsch,
24 Präludien und Fugen op. 87 (1950/51)
Keith Jarrett, ECM 1991.
Die Einkehr bei Bach hat auch einen gewissen Fluchtcharakter.

Schostakowitsch versuchte, der leidigen „Geschichtlichkeit“ eines in seinen sozialistisch-realistischen Funktionen verkommenden Künstlers zu entfliehen in den hermetischen Kunst-Raum des Bachschen Kontrapunkts. Dieser bessere, freiere Traditionsraum ließ ihn für eine Weile die schmerzhafte Geschichtlichkeit eines freiwillig-unfreiwilligen Staatskomponisten vergessen. Ernst und Dringlichkeit bedeutender Kusntwerke resultieren zweifellos auch daraus, daß man ihnen die oftmals prekären Situationen, in denen sie entstanden sind, dauerhaft anmerkt.

from: The Fugue – Idea Of The Absolute

Klaus-Heinz Jungheinrich, translated by Maria Pelikan, in:
Dmitri Shostakovitch,
24 Preludes and Fugues op. 87 (1950/51)
Keith Jarrett, ECM 1991.
Turning to Bach was a kind of escape; an element of retreat cannot be denied.

Shostakovitch tried to escape the distressing historicity of the artist delinquent in his socialist-realist functions by espousing the hermetic artistic realm of Bach´s counterpoint where he could forget his painful rule of the voluntary/involuntary State composer. The seriousness and urgency of an important work of art is often due to the fact that it came into being under precarious conditions.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
from any musical or universal dictionary:
fuga (lat.) = Flucht = flight, escape, refuge.

Post a Comment

Your email is never published nor shared. Required fields are marked *
*
*