Filozofija i drustvo 2012 Volume 23, Issue 3, Pages: 221-236
https://doi.org/10.2298/FID1203221J
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Schubert and Beethoven - Adorno’s early antipods of the music in bougeois epoch
Jeremić-Molnar Dragana (Fakultet muzičke umetnosti, Beograd)
Molnar Aleksandar (Filozofski fakultet, Beograd)
In this article the authors are reconstructing the dichotomies which the
young Theodor Adorno was trying to detect in the music of the bourgeois epoch
and personify in two antipodes - Franz Schubert and Ludwig van Beethoven.
Although already a devotee of Arnold Schönberg and the 20th century music
avantgardism, Adorno was, in his works prior to his exile from Germany
(1934), intensively dealing with Schubert and his opposition towards
Beethoven. While Beethoven was a bold and progressive revolutionary,
fascinated by the “practical reason” and the mission to rise up and reach the
stars, Schubert wanted none of it (almost anticipating the failure of the
whole revolutionary project). Instead, he was looking backwards, to
primordial nature and the possibility of man to participate in its mythic
cycles of death and regeneration. The lack of synthesis between this two
opposing tendencies in the music of early bourgeois epoch lead to the
“negative dialectics” of Schönberg and 20th century music avantgardism and to
the final separation of Beethovenian musical progress and Schubertian musical
mimesis.
Keywords: Franz Schubert, Ludwig van Beethoven, Arnold Schönberg, music, bourgeois epoch, revolution, mimesis
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