And the music of Johann Sebastian Bach represented one important, if at times heavy link of that chain. The German philosopher, cultural critic, poet and composer Friedrich Nietzsche (1844-1900) suggested that art at the turn of the 20th century was “dancing in chains.” Good art, according to Nietzsche arises from the imposition of constraints, limits, or conventions upon one’s imagination. 1 still needed the poise and universality of the traditional chorale to conclude the setting. Combing his own mixture of half-ironic skepticism and steady self-consciousness with respect to his motet settings, the highly original opening of Op. They also highlight Brahms’s inability to clearly define himself as an individual artist without evoking another, more authoritative artistic figure. Brahms’s motet composition, however, are not merely an act of reverent homage to the old master. Throughout his career, his musical settings clearly reflect his almost academic preoccupation with religious music of the past, foremost among them the music of Johann Sebastian Bach. Alfred Schnittke Credit: was an avid collector and editor of old music, and he had a profound antiquarian and musicological interest in the music of the past.
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