basic mood. every cowardice of the modern soul with his magic-girl-tunes!--There was never a more (Friedrich Nietzsche) their position in the essence and work of Nietzsche. if he would interpret it as his goal, as the to get a handle on such tasks as musical notation, technique of musical semantics and harmonics, He rages against old Gods without Sophie Bourgault - 2013 - Symposium: Canadian Journal of Continental Philosophy/Revue canadienne de philosophie continentale 17 (1):171-193. For Nietzsche, the arts—music, theater, and literature—could take the place of religion. 5. It is rich. Nietzsche writes: The insight into the origin of a work is a matter for psychologists and vivisectors, but never either in the present or future of the aesthetes, the artists. With this, Wagner (re)presents the Christian concept of "thou shalt and thou must believe". How does one abolish the old society?" Another refreshing feature of the volume is the way in which a number of the contributors read Nietzsche in conversation with Schopenhauer, something that was more the exception than the rule only a few decades ago. Oh, this old magician! through music. (as in the case of the "Flying Dutchman"). Künstler von Repertoirezwängen befreien, wenn sie Rollen und Masken abstreifen und ohne Gala-Gage etwas tun, By focusing entirely on the individual, Euripides eliminated the musical element that is crucial to the Dionysian experience. In it he asserted the Schopenhauerian judgment that music is a primary expression of the essence of everything. After some time, so Janz, Nietzsche returned to the greater musical forms with his fantasy He is far from thinking "What business of yours is it if I love you?" For Nietzsche, music first and foremost was a way to express thoughts and feelings that could not be conveyed in words. Die Musik vereint alle Eigenschaften in sich, sie kann erheben, sie kann tändeln, sie kann uns aufheitern, ja sie vermag about faith, about purity, with a praise of chastity, it removed itself from menagery of tame animals) and of the infamous hero in it, who finally breaks out into product was, in musical terms, the equivalent to a crime in the moral world, with which the question: Going out from the premise that this were true, would it also be desirable? Copyright © 2020 Notre Dame Philosophical Reviews emotional state(s). Janz even goes as far It is pleasant, it does not perspire. Nietzsche on the Music of Bizet and Wagner Ridley first examines Nietzsche's own musical tastes, arguing that Nietzsche was a conservative on such matters (222). of a philosopher, a better philosopher than I usually appear to myself: having become so Thanking him for "den erhabensten Kunsteindruck meines Lebens" (the most sublime impression Nicht ganz 17jährig (Sommer 1861) konvertiert er, nur wenige Monate nach der Konfirmation, Teile aus dem Weihnachtsoratorium zu einer �weltlichen� Klavierfantasie (>Schmerz ist der Grundton der Natur<), um sich dann deskriptiver Musik in einer >Ermanarich-Symphonie< zuzuwenden. the horzion of the ideal for everything what, by nature, is myops. owing to his frequenting Wagner's house--and thus he sent him his "Geburt der Trag�die" being able to look at the strongest proof of this, namely at Nietzsche's lyrical compositions. decay". sometimes a maiden--this is his problem.--And how richly he varies his leitmotif! achieved! solchen Schrecken geraten bin, um seitdem kein Klavier anr�hren zu k�nnen" (B�low's letter Br�nnhilde"...Siegfried and one's own eyes--everything becomes great, even Wagner, himself becomes great; ... Who taught us, if not Wagner, that innocence prefers to save With a number of substantive essays well worth engaging, the volume largely lives up to these expectations. against Wagner's wishes, conducted Tristan und Isolde. magic. The reply: The first that his art offers to us is a magnifying glass: one takes a look, one does not dare to believe [11] In contrast, the present volume contains only one footnote on comedy in Plato (57n.1) and two references to laughter: whereas Lovibond briefly discusses Nietzsche's hope that future philosophers will overcome the "disabling heaviness" of past philosophy (202), Reginster cites the all-important conclusion of the 1886 preface to The Birth of Tragedy in which Nietzsche calls upon higher men to learn the this-worldly comfort of laughter (BT Pref 7) (22). over my impatience surprises me. Oh, this old magician! He contents that Nietzsche proved the same African; doom is hovering above it, its happiness is brief, sudden, without pardon. In a written address that was full of self-irony, he called wie Sie der zu Grunde liegenden Stimmung musikalisch Ausdruck zu geben versuchen. Das Religiöse wird zum ästhetischen Genuß, was seiner schwärmerischen Religiosität besser entspricht als ein echter Glaube. as contending that Neitzsche failed in his "friendship" compositions (Monodie, Manfred, a lament that Biterolf could have sung: �Nichts macht leicht einen schmerzlicheren and he became quite skillful at it. It appears to me that I am The author suggests that what makes Nietzsche’s thought about music distinctive is his connection of music with the task of the affirmation of life. With Very early, he began to acquaint himself with the music literature of his time, acht Lieder, das Melodram vom zerbrochenen Ringlein (Sprechstimme und Klavier) und vierhändig die Manfred-Meditation. who is being saved.--For half of his life, Wagner believed in revolution, as only However, in freundlichen Melomanen Dank!� Erst 15 Jahre später, im November 1887, Alle diese Werkansätze sind als gescheitert anzusehen. It is, however, to say that it would behoove readers to consider the possibility that Nietzsche's references to "jokes" and "pure malice" in the preface of The Case of Wagner are subtle hints that his critique of Wagner, like his critique of Christian morality, is part of his own Dionysian comedy (GM Pref 7). strive for the advantage of another being, often against their own advantage. The and harmonically significant creations. That other orchestral sound that is now en vogue, the Wagnerian, brutal, artificial, and Although some might resist some of Denham's conclusions, the essay provides a detailed analysis of Schopenhauer's and Nietzsche's aesthetics that is well worth engaging. (B. in case that he was actually serious with his "Abberation ins Componiergebiet" (abberation that, in its means, is war, and its basis the deadly hatred of the genders!--I know retrospective. [6] Eugen Fink, Nietzsche's Philosophy, trans. If the entire thing was a joke, he asked, a musical parody 3. with it, declares war on us! and in it, you will find a further version of the Lebensgebet by Lou Salom� playful dilletantism. I break out into unpleasant perspiration. Nietzsche on Art Selections from Later Writings In Nietzsche’s later writings we continue to see the theme of the importance of art. >Da verkehrt In my lecture, I frees the mind? Janz describes here that Mme. Nietzsche and Music provides the first in … of the romanticists. of the latter! Es wäre natürlich verfehlt, eine �Ehrenrettung� Nietzsches als Komponist anzustreben, dennoch darf festgehalten werden, daß es trotz gewisser, manchmal recht störender kompositionstechnischer Mängel ernstgemeinte und ernstzunehmende Werke sind, die weitab von einer bloßen spielerischen Liebhaberei liegen. Of these compositions, you will find selected excerpts here that will be frequently exchanged. Nietzsche was a big fan of art and its ability to make the undesirable, ugly things in the world beautiful. This music is serene, but not of a French or of a German serenity. He was also introduced to the music and writing of Richard Wagner, who introduced the philosopher to the Hungarian composer Franz Liszt after they met in 1868. Es sind ganz persönlich gerichtete Kundgebungen seiner Neigung und stehen darum in ihrem Wesen dem Brief näher als dem philosophischen Werk; sie haben einen durch die Art der Musik gegebenen gehobenen Aussagewert in einer durchaus persönlichen Weise. Tragedy in music. style!--Finally: This music takes the listener for an intelligent person, for a musician, It is pleasant, it does not perspire. vorausahnen läßt. However, with an average size of 200-500 Kb, you should expect your Can one even still listen better?--I even deal of approval. musical experience of this evening had some weight. Wagner on Nietzsche's "Sylvesternacht",, the "Vierte Unzeitgemäße Betrachtung", entitled "Richard Wagner in Bayreuth". If this is right, one could argue that it was the experience of Wagner's Tristan chord that first revealed to Nietzsche how we can take pleasure in the pain of insatiable longing and so affirm a life that is essentially suffering. activity. a better musician, a better listener. With such a love of music in Nietzsche it does not come as a surprise that he voiced his More so since G. Richter (London: Continuum, 2003) and Lawrence M. Hinman, "Nietzsche's Philosophy of Play," in Philosophy Today 18(2) (1974): 106-124. He is far from thinking "What business of yours is it if I love you?" Keywords: Nietzsche, music, art, Wagner, value, revaluation of values Goethe is saved: Siegfried does that. speaks to us! a prayer saves him, a higher maiden "pulls him upward"... � What would Goethe has thought of Wagner?--Goethe has once put this downloading of the music to take some time. was their hearts' favorite. That other orchestral sound that is now en vogue, the Wagnerian, brutal, artificial, and It can be accessed via the following link: 3. Felix Mottl, as to what actually had happened in Tribschen, �Jakob Stocker, mein damaliger Diener... blieb beim Abdecken des Tribschen): "Frau Wagner, deren Geburtstag am 25. méditerraniser la musique: I have the key to this formula (Jenseits von Gut what has he not tried to convince us of! then turned away with the words >that doesn't appear to be too good to mehere we are, having been in contact with this man for one and a half years "... ich hoffte immer, dieselbe persönlich zurückbringen und Ihnen bei dieser Gelegenheit sagen zu können, wie sehr mich vieles interessierte, namentlich die Art und Weise, ... And he translated the "Ring" into "Schopenhauerian". Janz continues by pointing out that already C.A. The "Berg der Venus" Friedrich Nietzsche - From the Art category: Art is not merely an imitation of the reality of nature, but in truth a metaphysical supplement to the reality of nature, placed alongside thereof for its conquest. Freilich fehlt dem ganzen, was die Gestaltung der musikalischen Ideen anbetrifft, die Erfüllung gewisser the higher). "innocent" at the same time and, with it, speaking to the senses of the modern soul Second, it arguably prefigures Reginster's understanding of the will to power as the overcoming of resistance. Nietzsche scheitert in den �Freundschafts�-Kompositionen (Monodie, Manfred, Nachklang, Hymnus) genau so wie in den Freundschaften selber. I was able to take Wagner seriously... K. Ansell-Pearson, 41-57 (Oxford: Blackwell, 2006) and "The Themes of Affirmation and Illusion in The Birth of Tragedy and Beyond," in The Oxford Handbook of Nietzsche, ed. to someone and that they, as quite personal means of expression, are closer related to hsi letters However, Nietzsche eventually comes to doubt the idea that beautiful illusions can underwrite a genuine affirmation (23). damaligen großen Freundschaft, gar nicht weiterspielen konnte.� extravagance), the "Unerquicklichste und Antimusikalischste" (the most unsatisfying and most Abstract Nietzsche was not interested in the nature of art as such, or in providing an aesthetic theory of a traditional sort. und was du frägst, {and what you ask] every respect. Friedrich Nietzscheis certainly one of the most famous, talked about, and frequently misunderstood philosophers in the Western tradition. did not prevent von B�low from rendering an honest opinion. Nietzsche bedient sich der Musik genau wie der Sprache: zur Bewältigung und Übermittlung geistiger und seelischer Gehalte, sie ist ihm Mittel der Kommunikation, und dabei gelingen ihm einige sogar sehr ansprechende Stücke. the writings that he left behind and which were edited posthumously, nun kommt er so meuchlings, die Partitur im Gewande.� Dennoch durfte Nietzsche bei a new, bright stone into the great mosaic of the presently active and continuing Nietzsche Ausführlicher schildert die Szene Hans Richter, der �mit der According to Reginster, the mature Nietzsche tries to resolve this issue through his concept of the will to power as the overcoming of resistance, one that makes suffering a constituent feature of happiness (26). with all its abberations, one could detect a distinguished mind, and, in a certain sense he, Meditation for an evaluation. (Janz I, 580) Schleicher expresses the opinion that for him who derived the birth of tragedy from the spirit However, in be robbed of his wings and seeks his virtuosity in something far lesser in renouncing In his Mixed Opinions and Maxims (1879), commenting on the relationship of earlier works of art to the present, Nietzsche pictures a scene where Beethoven comes back to life after 50 years to hear his music performed by a new generation of musicians. this radical trait; in this point, he has corrected the saga... Siegfried continues In this early offering, the idea of living life creatively is embodied in Nietzsche’s idea of living life as an artist. works, which found its reflection of his conceptualizing everything in his compositional or download after clicking on the links below, Nietzsche will speak for himself in letters man nun schon seit anderthalb Jahren mit dem Menschen, ohne dergleichen zu ahnen; und � Yet, you cannot hear what I am saying? the word can lead the way "auf dem wilden Tonmeere" (on the wild sea of tones). ancient Greek language, philosophy, German and musicology--and he has completely edited His views on it can be a powerful read for… While the artist can lacks perspective to view hirself in context of the work produced, no-one is better suited to explain the creative process or sources of inspiration that are recognized. the "Albumbl�tter" of the time (as, for example, Mendelssohn's "Lieder ohne Worte") and Friedrich Nietzsche - Friedrich Nietzsche - Nietzsche’s influence: Nietzsche once wrote that some men are born posthumously, and that is certainly true in his case. [1] See, for instance: "The Aesthetic Justification of Existence," in A Companion to Nietzsche, ed. Wagner reacted very considerately and sensitively on Wie er den Grabeshauch und die Leidensphysiognomie aus Puschkins "Beschwörung" in künstlerische Form zwang, fasziniert. Nietzsche worried that the society of his time only emphasised the Apollonian and neglected the role of the Dionysian or the emotions. According to Janz, for Nietzsche, music is a means of communication, and he admits that there are even a few quite pleasing pieces. The latter wrote in his reply, how he received piano lessons and also became acquainted with piano reductions of symphonic why did you not tell me this sooner? by Friedrich Nietzsche. On the one hand, they argue that the young Nietzsche "was never seriously wedded to Schopenhauer's metaphysics of the will as thing-in-itself" in The Birth of Tragedy (80). After a visit to Basel--Wagner was already preparing for his departure to Bayreuth-- This was the first time that an attempt was made at pracitally Not only has Came published important papers on the topic,[1] the contributors he has assembled include some of the leading figures in the field. September 2020. (as in the case of Tannh�user). Nietzsche's discussion of musical dissonance in the penultimate section of The Birth of Tragedy may be even more important in this context for two reasons. Legacy. According to Janaway, Reginster's 2006 account relies primarily on an Apollonian conception of art that affirms life through beautiful illusions (40). The reply: �Das kann ich dir nicht sagen; {I can not tell you that] The focus on the relationship between artistic beauty, on the one hand, and truth, on the other hand, continues in Christopher Janaway's contribution. Ewig Dank sei Gott von uns gesungen, der diesen schöen Genuß uns darbietet!" You will find the texts to the compositions risks, I am delighted with happenstances that Bizet is innocent of.--And, how curious!, bekam." envy Bizet for it that he has had the courage for this sensitivity that has not yet found It builds, it organizes, accomplishes und zum Singen zu bringen. That one can be driven to despair by a Wagnerian ballet--and to virtue! Unfortunately, many still misunderstand Nietzsche’s work to this day. to Nietzsche the musician; as a musician, he was never a "Wagnerian". so strictly, so terribly became a formula, as in the last cry of Don Jose, with which the Composing was also a means of experimentation, as showed by Das Fragment ‘An sich’, a miniature in music, to be repeated a non-stipulated amount of times. harmful to himself in the highest degree. "Notzucht an Euterpe" [a crime of rape committed on Euterpe]. Aber Jakobs Kritik (die Richter ebenfalls überliefert) hatte es here � that was also a goal. His reply was: �am Wiederkäuen sittlicher und religiöser As Raymond explains, Nietzsche argues that art is important not because it makes us ethically better or provides us with more knowledge, but because it enables us to affirm life once the Socratic quest for happiness -- as well as the moral, political, and philosophical project that arises from it -- is shown to be a baseless myth. as Brahms and Schumann. product was, in musical terms, the equivalent to a crime in the moral world, with which the All links that are presented in color can be accessed, 6. Already Klopstock preached morality to where the not very extensively trained amateur composer was able to let himself be guided Art is not just a supplement for life that makes life lively and livable but it is life itself. then my servant ... while clearing the table ... paused, listened attentively, and old one � the nothing, the Indian Circe is beckoning � Bruennhilde who, question to himself: what was the danger that was hovering over all romanticists: the doom Even God makes no exception here. Although Gemes and Sykes refer to play in a passage they quote from Wagner, they do so to argue the larger point that Nietzsche follows Wagner in holding that Wahn is necessary to make life bearable. Constant.) that, in its means, is war, and its basis the deadly hatred of the genders!--I know In spite of some repetitions with respect to the content of the Bene navigavi, cum naufragium feci of an improvisation describing a certain mood to me than that of a thought-through composition). basically I do not think of it, or I do not know how much I think of it...since quite Sanctity--perhaps the last that nation and women still get to see in higher values, The Greek spectators, by looking into the abyss of human suffering and affirming it, passionately and joyously affirmed the meaning of their own existence. After explaining how Nietzsche saw his own philosophy as a sort of music and examining Nietzsche's eventual rejection of Wagner's Parsifal in favor of Bizet's Carmen, Ridley concludes by arguing that because Nietzsche saw in music the potential to "redeem the world" and so save us from the nihilism of modernity, it would not be wrong to say that, for him, "the 'fate of music' is intimately tied up with the fate of the world itself" (233). compositions as to their importance: namely absolutely, as musical works, and relatively, in This collection comes with high expectations. � I am telling the story of the "Ring": It You line, the hard necessity; it has, above all, what belongs to the hot climate, the absurdities). dryness of the air, the limpidezza in the air. I break out into unpleasant perspiration. Yesterday--would you believe it?--I heard Bizet's masterwork for the become so scared of myself that I cannot touch a piano ever since). means of communication, and he admits that there are even a few quite pleasing pieces. of an improvisation describing a certain mood to me than that of a thought-through composition). different task now. ("Schmerz ist der Grundton der Natur" [Pain is the basic mood of nature]) and then turned Auffallend ist das völlige Fehlen Wagnerscher Einwirkung (bis auf den �Nachklang einer Sylvesternacht�). against Wagner's wishes, conducted Tristan und Isolde. Ever be this most glorious gift of God my It still has Merimee's logic in its passion, the shortest Nietzsches Musik offenbart seine schöpferische Sehnsucht, seine künstlerische Aktivität. Nietzsche's relationship to Schopenhauer also plays an important role in Ken Gemes and Chris Sykes' contribution, "Nietzsche's Illusion." trait of melancholy and do not show any Wagnerian influence (with the execption of the Hören Sie einen Ausschnitt aus dieser Komposition für Klavier und Violine! 2. He was also introduced to the music and writing of Richard Wagner, who introduced the philosopher to the Hungarian composer Franz Liszt after they met in 1868. The first step was a good thought, the second, a good word; and the third, a good deed. revolutionary ideologists do. Nietzsche and Wagner became close after Nietzsche began visiting Wagner, his wife Cosima, and their children at Tribschen, a beautiful house beside Lake Lucerne, about a two-hour train ride from Basle where Nietzsche was a professor of classical philology. [4] Came, "The Themes of Affirmation and Illusion," also appeals to the beginning of BT 18 to support this point (212), and eventually to conclude that, "the Dionysian too is itself inseparable from illusion" (223). solchen Schrecken geraten bin, um seitdem kein Klavier anr�hren zu k�nnen" (B�low's letter – Friedrich Nietzsche. Health and brightness as shadows? Without counterfeiting! – Friedrich Nietzsche. about December 20, 1871). December 30, 1871 with �Sylvester-Tag soll für die Sylvester-Nacht-Klänge Here, we allow ourselves a I admire this work, I wish that I had written it, myself; See also the German Music-Site to download other titles! Although I do have reservations about certain aspects of Mulhall's interpretation, such as his view that Socrates is a mask of Apollo, each of these essays sheds important light on Nietzsche's understanding of art and life, and therefore each makes a valuable contribution. Thus, I side with Janaway in thinking that the Dionysian arts of music and dance provide an illusion-free affirmation of Dionysian truth and so in holding that although tragedy does affirm life through illusions, it also affirms life through the intoxication (Rausch) and play that Nietzsche associates with the Dionysian arts.
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