Scribd Logo
Carica

Benvenuto in Scribd!

  • Adorno, Th. W., On The Fetish Character in Music

    Caricato da

    minnieQthief
    18 visualizzazioni15 pagine
    German sociologist and musicologist, article on fetish character in music.

    Titolo originale

    Adorno, Th. W., On the Fetish Character in Music

    Copyright

    © © All Rights Reserved

    Formati disponibili

    PDF o leggi online da Scribd

    Hai trovato utile questo documento?

    Questo contenuto è inappropriato?

    Segnala questo documento
    German sociologist and musicologist, article on fetish character in music.

    Copyright:

    © All Rights Reserved
    Scarica in formato PDF o leggi online su Scribd
    Segnala contenuti inappropriati
    18 visualizzazioni15 pagine

    Adorno, Th. W., On The Fetish Character in Music

    Caricato da

    minnieQthief
    German sociologist and musicologist, article on fetish character in music.

    Copyright:

    © All Rights Reserved
    Scarica in formato PDF o leggi online su Scribd
    Segnala contenuti inappropriati
    di 15
    On the Fetish-Character in Music and the Regression of Listening By Theodor W. Adorno Oripinaty published in Zech fix Soilfrchang Vol. VIF (0938, this essays sloneof the rmostinpresive examples of sociology ofr. Inow conte, we should stress) Adorma's almost ‘xii polemic agains the ho Benjamin's "Work of Artin the Age ofits Mechanical Reproducbiy"2)Mrsrtng wlcaion of Lkics'sconcept of eilcaiont indicat the logeof he culture ‘industry. and fly) Adorn's own theory ofsractaral listening ‘andthe deersoxingchancer of euheticrespone nthe age ofthe decline ofthe Iida ‘Complains aout de decline of musical tat begin only a ite later ‘than mankind's twofold disovery, onthe theseld of historical ime, ‘hat musi epesonts at once the imamediate manifestation of pls andthe cus ofits taming It stirs up the dance ofthe Macrae ane Sound ftom Pan's bewitching Aue, but tals rings out fro the Orphic re, around which he vison of violence rungs themselves, reid. Whenever thei peace soms wo be disturbed ty bacchanic Alain, there sak ofthe dectne of ae. But the disciplining ‘uneton of music hs bee handed Jown ine Geck plop as ‘major good, then certainly the pressure to be peated To obey mascally, as elsewhere, is today more general an eve, Jut 5 he ‘utent musicalconsiousest of the masses can scarcely be called Dionysian, sits atest changes have moshing o do with ast. The concep of we i elf ued, Responsible ar adjusts self © ‘sits which approximate jdgments: he hamoniows andthe nha ‘monious, the comsct and the incoeet But there, no more ‘hoes ae made the question fs nofnger at ndno one deans {he subjective sti ofthe convetons The Very existence of {he shject who could very Such ate has become as questionable =s ts, a the opposite pole, the righ toa freedom of choice which ‘empirically, many ete, noone ty longer exercises Ione secs © find oat iho kes a commercial pce, one cannot avoid the ‘ticion hat liking and disliking ae Inappropriate ote staaion, ‘even if the person questioned clteshis ection inhose words. The airy ofthe pce is a surrogate forthe quality aseribed TO tke ts almon the sume thing so ecopnize An aproach ates ‘of valve judgments has become a ficuon forthe petson who finds Pimsef hemmed in by stndardized musical goods. He can nite ‘scape impotence nor decide between the ofeings where everything ‘Sse completely Semel that preference in fac pends merely oo biographical deals oro the situation a which hings ate heard, The ‘atepoies of aulonomeuslyoveted art have no apbcability to he ‘ntomporary reseption of music: a0 even for that of the Sous ‘si, domesiaad under the Dartarous name of lsc s0 2 © ‘rable ne to tar avay from again in conor its objected ha Specifically igh musi and everything mended for consumption have inany cate never boen experienced in terms of thse categories, that rust ceaily be conceded. Nevertheless, such musi isabsoaffected bythe change i that he eterna, the pleasure, the enjoyment promises, i given only to be simultaneously denied. In ve of his ‘sey, Aldous Huxley his sed the question of whe, in place of musement, is elly being amused. With the same usc, ite be tsked whom msc fr emeranmen sl emertans. Rather, iseems fo complement the redaction of people 10 lence, the dying ut of Speech as expression, te inl) fo comarca a alle nha ‘he pockets olen thal developbetweea people molded by anny, ‘work and undemanding doeity. Everywhere itakes oer unnoticed, ‘he deal sid ol th fel oitin he ine and ie specie siuatonot the set ms. Is perceived purely as background Hf nobody ean any longer speak, then eerily nobody can any longer Tsien. An ‘American speci aad aversng, who indeed peters o make ‘eof te musical medium, hasexpressedskepicism astothevalucof thisadvertsing, because people have amedto den hi atention to ‘uur hey ate hearing even while stening to His observation is questionable with respect to the advertising vale of music, But it fends to be righ ia terms ofthe rcepion of the musi se Inthe conventional complaints sbout declining tse, certain ‘motifs constaly recur. There sno lack of pouting and series ‘comments asesing the cuteat musical eondon ofthe masses as ‘one of degenratin." The most enacious ofthese mati hat ot Sensaliy, which allegedly enfecbles and incapeciates hoi ber havi. Tit complaint can alreaiy be found in Book It of Pat's ‘Republic in which he bans “the harmonies expressive of eto at well as the "Wo harmonies “stable for diaking. witout is bing cleat this day why the philosopher ascribes nee character tis the mined Lydian, Lydian, bas Lydian an onan modes. fn the Plutonic sat, the major of latar Wester muse, which sores. ons fo the Ieian, would have ben tboocd. The fe and the ‘pankarmonic™ srnged astument also fall under the ban, Tony ‘modes tobe left are wate, o sound the note or accent which a brave man utes in the Rout of danger and sem solve, or when he {aces injury, defet or death, o any ther misorue, wit he sme stealfast endurance.” Plato's Republics ot the wpaiiscalled by the ofl history of pilsopty It dsipines ts caer in terms of is existence and will to exist even in musi, where the distinction made between sft and suong modes warbyPlt's tine aleady lite ‘mote thin ares of the mustestsuperstion, The Paton on ‘eveal self mischievouly in jeeing atthe fle payer Maryse, faye by the sobe-sided Apolo. Pao’ ehical- musical progrant teas the characte ofan Ati purge in Spr spe. Oter prea ‘hemes of musical semonzig sfeonthe sms level. Among the most romine ofthese are the charge of supericialiy and that ef "ult ‘of personaly." Whats stacked rchiely progres svi essential: yt spcitieallyesthetc-Inewined wih the forbidden uremenis ‘ae sensu grey and diferetating consciousness, The pred ‘ance of the person over collective compulsion in sie marks the ‘moment of subjective freedom which breaks through in tx phases, while the profanaion which fest from ts magi ile appears a8 ‘uperfcialiy. Thus the lamented moments have teed fo the {eat msc of he West: sensory simulation 8 te gateoety into {he humone and eventually the eolorstic dimensions the untied son asthe bearer of expression and ofthe bumaization of sie isl “superficial as eriique ofthe mute objectivity of frm, In he seme of Hayes choice of te “lla” in proferene to he leamed. Hayda's choice indeed, and nt the eclesnes ofa sing ah Chara a aio Rerenion of Leng an with ken hao an names of psc upon Foruiose moment cae nt rt sen were aor in fe get mae Sot ave acm he rape ot Sia nd een, is pests shown fre ro SLTNor nh aes bemused soe pee only fps tee ond prac! te lig spt ie clay momen Siena iy, nt veo ofp momen an clng ‘tht ve as pscred he nag aso codon nich {Dove those parca omens of pins wud be mote an smo aparnce Uatl he ed of postr, te asl ace ‘ive simul nd iy,Berecencgresion nae {hereon surface nde unig ea una he tremens af bunce tear spy sd cant epi Sono. The Mage Paen ach vpn beEal nent Soe fee of ip opr coml sone ciate, 8 tment Ate The Mae lear eve pn pose {Dore show sgt one oer ot wha ae enim formal Iw se no nage he wodnetve impaes which cele ant coments. Impl, netviy and penton, eld vers of marie ‘erate, eon oncom Inept times heaton ani Iynalogal omen ef mui corp pt eda, a whose lsh wee enc pserbd Teepe te poston {rnc auhran shea become wits Yh ay of ‘Smelt, The dl ine mone and hey fede feu an exes for shslving he nee ra he opt of Be Sib nse cis compise in proper nein. Te inert “eve abe i ne esas oe mot carer No ogee ariel moment rv sigue at ate nono. spend he ng which eee {bul cvensoguwe sed one wey Tania isauiccd wih hy no longer produce hei ove in pe the teed en, but dow tems compet fo Te bla Shonen of eapymen prove insmpaewth hunt on Suton fe work cand whtever ne work prs od thom wanes ceyon acid ow. They ae eta i theabes but derionry foc, Tn the Sete ot fice hy rence hat earn cance hich was Beis “Thy conic care 0 cms ith evening wich he led troment ifr nated al who og ceed be ‘me in olan he chms come led ad oa olf be familiar. Whoever devotes himsif 10 them is a¢ malicious 8 the Greek thinkers ene were toward erintl sensuality. The sedctve power ofthe charm survives only where the forces of denial ae Strongest: inthe dissonance which ees ble inthe sn of he existing harmony: The concept ofthe acai is el dilstial ‘music. If sceticimgnoe stuck dv the claims of the etic in ‘eactonry way, thas lay Recome he sgn of advance at 40 ‘be sure, by an arcing parsimony of means in wtih deficiency and poverty are manifested, but by the ret exclusion ofall clinry dslighs which seek be consumed imme for hiro sake, 2 fin atthe sensory were atthe eater of semething intelectual ‘hich only shows ise inthe whole rather tani isclaed topical ‘moments. Act records negatively jas that possiiiy of happiness ‘ich the ony partly postive anspatin of happiness ruinous non today All "light a pleasant at as become sory and ‘mendacious. What makes its appearance esthetic inthe pleasure ‘ategries can no longer give plese, and the promise of happiness, ‘once the definition of at an no lnger be found except where the ‘mask has ben or rom the countenance af false happiness, Ej ‘nent fil tetans a place aly in he immediate bodily presence, Where it rues an estetic appearance, i is illusory by este Stands and likewise cheats the pleasure seeker Oto el, Only where its appearance slacking i the faith ints posbiy ain ‘sine. “The new phase ofthe musical consciousness ofthe masses is etined by dspleasir in please I resembles the ection oportor advertising. The wots "enjymentof a "sound funy. in oting tse, Schinkerg's music resembles popular songs in tefising 10 be ‘enjoyed. Whoever sil eight inthe beuutl passages ofa Schiben ‘quartet or even in the provccatively belly fare of Handel concerto ‘roo, ranks asa would-be guard of eultire among the bute collectors Wat ones bm as an epee fs ot perhaps “new ‘Te power ofthese alla, the eaehy tune an al the sang forms of thebana has made sel fl since the beginning of the bourgeois ra. Formerly, tanacked thecal privilege of the lng ‘las, Bt day, when that owe ofthe banal extends over he enti society its function has changed. This change of function fers all, music, ot oaly light music in whose realm cold comfortably ‘enough be made innocuous, The divers spheres of music must be ‘hough of together. Ther ste separation, which certain caretakers of clr have arden sought—the altars radio was ssgoed > eh Carcieri f Lier Ds the task, on the one hand, of providing good ntersinment and fiversion, and on th oer, of fostering he sale cull goes, ‘Sifter could sib oodenertaiment andasifhectral pods ‘pets not by thee simiisaton, wansfomed ino eve nest patel ot of muses sek lt of fe is sions. “hast as the history of ious musi since Marat sa fight fom ‘hema elects inreverse the otlnes of msc, sted inits Tey represents gives an count of the cious experince ‘which appear even in the unsuspecting innocence of Tight moss It Iroul be just as eauy ogo inthe oer dveton andconeal the break ‘between the two spre, sssuing a cotiuum which peas Dopessive eluction leading safely fom commercial az and Nt ‘ones fo culltal commodities. Cynical bartrism sno bets than ‘uta dishonesty. What accomplishes y dsilusion onthe bight level, itblancesby te ideologies peimivismand return tomate, ‘vith which t lof the maa underworld: am underord which Tes long since cee to srt the oppstion of thos exclded frm ‘tre oid expression, and nw ony ives on whats handed down to from above ‘The ion ofa socal preference fr light muse a8 against serious is based on that passivity ofthe masses which makes the Consumption of ight musi contact the objective nee of hoe Soho consume tts aimed tht hey actually Tike Hight msi nd Tistn to the higher type only for reasons of soil presti, Aequinance with he txt of single it song sulfices 0 revel the Sole feneton his obectof honest spprobutionsan perfor. The unity tf the two sper of asc thus that ofan unresolved contradiction. “They donot hing ogetierinsicha wa hat he lower could seve 28 Sort of popular nrodetion 10 the higher, or the the higher cout fenew i fx collective strength by boconing rom the lower Tae ‘whole can nt be pt together by adding the spare has, bu fa ‘oth thee appear, however distantly, the changes ofthe whole, which ‘rly moves in conradition. Ht the Might from the banal besomes ‘etnies if he maka of the serious product sinks one Ing. in comequence of te obctive demand, tenon the lower level the effect ofthe standardization of successes means iis mo longer possible to sustesd im anol aye, but only in imitation as suc. erween incomprebensilty and iaescapabiiy, tere i no third tray the situation bes pond elf into extemes which scully Inet. Thee f ap room tetween them forte "inividl.” The Tater's claims, wherever they sill our are Huscy, being copie ™ ee Try and Ca! Cin from te standards. The ligion ofthe individual i the el Anant o new music sinaton 1 he two spheres of musk se ined vp ia he wit of thir contain, the demaraion ie between hem ve, The ‘anced prods enounedconsmptin Te est seus mse ‘sated over comompion ore pre wpe se. cambs wo eames Istsing. The ferences ote recon of effi “cleat mica ight macho longer have oy el Siiance, They a nl sil enue for esos market tay Te it ong ernest eet {oo ceva fr hi, ste visor pihamonis cone ‘onlimelin hist The mre nso ea eos wie tenes eveen he mil pvr he re he pen hat itt hes, he init cola oly come Wan de “Toschai, the ssc erchesva lender, ele lily, ands itsong Mase mst, plese” fads secs medi ater Tonia was omer oaal he Arnie he md “The word a ht msl, be compos isis which cecxenis pal feo ving etn and Water Domine rors best compasr"=by way of Cerin Shes and Tealovaly 1 Schte’s B Mia Symphony, abled The Unf {hed oe ess Th st pci ts become wan “Thercatons ote seer spenohate no eaien he pay of tne mute Tey have teens, at the eure ace ich, fr is pa, comot be ought of wali By the past Spontaeites of tne, bu otead das bck oe comma Fublishes, sound im magnates slr a, Faron ele fe not he oly stars. Works togin fle on he same eA neon of betas Bul op. The pow sinks aed the Strining owes nt ony remover the model pod; bl te accepted cases mars undergo slo ha as oi de with quali. in America Beetoven's Fourth Syrphny aeng. tes Teton al na ee Ne met ail te monensin layed ssn an opin andade lori. Thief anand ell in terms of tht efernens for progam fenton, it ‘ar of he capris of crs temed by pt mn Fermited by tbe nor sooo. The cies of Bearers $Stvent Symp se plas on he ne eels he pea tom melo fom te’ slow mover of Tehakowsy Fit Fish Charan Ma nd Regrsion of Lieing m Meloy comes tomes igh eat yee weble melody. Tit ‘aabgucd he Compe’ ie” whic one hin Be on atin Ainpontt anda hme, uta it ake oe compe esis SSC propery The sonep ofthe de sr fom appr © ‘Souhihnel dca muse tomate mata, monly dsc ‘as, cota telng te urine same esc ‘DercmamtcsonBeciowen gest ths set theca ‘Shorten ofthe scdcnlypvteelde emenstote oom {EF Td pete vena eben Se of he most tporan themes of The Wal-Tempeed Clavier, {tae teing namie interme fect of en ith si Itceny big hunted ova wi al te sl of eel pope. ‘oi aly ne nic cemmenaorcouldpiais suse te ci tne dete. ‘is ot psionic ftshib akes posession ote pie vation singing woes. Tei seus mag alana sets tow aon etven sxe and tc pson endowed with “Shu” But ay ogee hat tis mater Fr mse) ‘alga macs, is syronyimois 10 hve woe adobe 8 iver. Irene, toil vitwsty est was demanded ‘Sfancing sr, ec and pin dons Toy, be materia Sd ue fy econ sera. On ol nave Sk ‘Sot sept for musa performance, Even ecu cotl ol SPST ontop expect Teepe ane a Aowmer ave ned ny be epecily voluminous remealy Hien ou drs even in Seavenaton Yo question te esis Irporace ofthe oe snd ios a tis jas pase omake {ett mae wah s noel god vies iis ona meray fod plane oe wl andi in onsel ord wih asaion ot Feiny and vrs whe emotional ot go far eee hn he tecason. Vou a holy ropes ke aman ada: Asi Shion waned recaps hase fr dey Beit kee Straus magn woos name iy se meron Most bem ‘Sind ike nations of hse who have made even wie hey ‘emiches bye made Allthsteactesa cima of duty ihe fot th mass: One romp ses ino apes athe wel eta Am ry ace Jat an el om hat good oder vain, frgeting in Fiecen to nen be compo nd he xeon, om ich Thre isl somching bad. The mote the mover echiu of ‘Re viln bow rogesses, Ge meh sems ht eo sue, sr inncalpeiuers sina ars ds sree cs oie ern to. Tee emer pe aoe ony cares eta eee res Seventeen cones ectoraceee consents Pelee peerieie ea oe ere Sore SS es etter tons teehee ae seo a ee eaten prt eee oe eee eee eee Sree as Se eeectaenae eee \tcconded it, serves in /imerica today as an advertisement for jen Senn eects ener Seen cores Sereeenccs om renee peer Seca bee saan Teel Sareea as eee ome Eee leigh ee Se ee eee ra Sere cee teenen Soe ote eee aetna ee Sone eee ace an esr eee Sener toes rmerieee Soo See Se eee ep ert oper pee rae erent enema oe eae eee Lat ea rr Chee Mo on Rn ne » mae” theses wich Reis nd aces as a tiie ‘cern out ecoting his Bue bast made Sy"ikng he ener bt ater By ying tee. To be ie, letane-eue eer ts power special yin he elm of ‘Site ous Fini wet connie eam appears {e'Stened tm the pet exclange, ein an id “Sadan wih the pt and he sepesac am which ‘Sm esc gods et exchange, Bu hy weve Iesrsitancfalemplcyintewol of ones, cetera are athe mst, The arene TT mmcdary fs stong a he companion of exchange sae is female The socal cmp armies the codon, The Sore of lacy tikes posion ofthe medi, ex ‘Rings el th Com in peer combines (‘aie ed cere tn po vas wose asin te ‘Mtr goat mat reer comply past soo) rst Spaced ypc ecg vue, whieh pein cep) #8 ‘TEhungerrve dacpvely kes oe he ncn of we ve, The Sper ash che Hex mh i ro Te ing sch got exchange vale cee he mesa ‘Saclay ate une tie she see aeons ect Ect hn tine shun character of xanga vey pyeolopea anpet ve ra ssacion, pon feck etal saben. Fe change in function of music inolvesthebasiconiions of we reason ween ad oi The mow inser the sini ofechanpe ae dss vac er Maman Plas elmore ey ds tebe pe el thot ot ‘opm ts een shed wht the omens hich ths the ‘Reulreanmodic oper The north is anette Sica ef entplin gon Ber change oc {Spencer ch eventual eey plese which emnc ult tl rm echagevae takes on obvesve fetes, Te vervnceofechangs nr incommadeshar taken ona “hase ercon, Te women who har money sh wich bays ‘morieed bye co buying In Areca conventional peck, ‘mes bod tine eas ei yee a he expen fos Sh in en haem oly coment being preset. The a Ton makes ll mn treers ne scanenal moment with he Wouhnmatsa lay “andin moment inna, women “rach peter importance th arrester and ose han {he situation forthe sake of which the haidresser an cosmstiians ae employed. The elation tothe ieevantduiflly manifests tt social essence. The couple out diving who spent her ine Ken fying every passing car and being hapry i they recopize te teadamarksspeding by the pl whose station coast solely in Ae fact hat she and he boyfriend loo good,” the expertise of the (Bezel y having kein hon what sin any case inescapable: al his operates asording othe sme ‘command, Before the theological caeces of commodities, the cone sums become temple saves. The who scrifice themes no where ele can do a0 here, and hte they wre fully bead. (Cn the commodity fetishists of the new model, in the "sao “masochist characte, im hase receptive fo today masa same thing shows self inmany ways. The masochist i ‘he necessry manifestation of almighty production iself. When the feelings seize on exchange-value iis no mytiealtransubstenition corresponds tothe behavior ofthe prisoner who loves his because hasbeen ftohing ese tolove, Te pace find ality, which accommo ise the replay ofthe succes, the doing of what everybody does, follows from te basi fat hate ‘bron areas the sume hing isoffered te everybony bythe stands Production of consumption goods. Bu the eommeril necessity of concealing this ienity Teas wo the manipulation of tse od the official culture's pretense of individualism, which necessary in ‘eases in proportion he ligation ofthe individual. Even ithe realm of superstructure, te appearance i not merely be conceal- ‘ment ofthe essence, but proceeds of recess from the esence sll ‘The identical character of the goods which everyone mus buy hides mt ching the rigor ofthe unverslly sompulsry tle. The fiction ‘of he relation between supply and demand survives in the ititiously (individual auaees. tte valu of ust in the preset station i questionod, is neces © understand wha ate is composed of this tion Acqulescence is rationalized as modesty, opposition wo caprice and ‘march; musical analysis has today decayed a fundamertally as musical charm, and has its parody in the stubborn counting of beats (Te pictur iscomplete by cede diferentiaton within these confines of the prescribed. But i the liguaed dividual really |jmakes the compere supetciaiy of he conventions passionately his ‘vn, then the olden age of ste hs dawned a the Very moment oh Charcot nt Reon of ini ou which Jase no longs exis The works which ar the tas of the {evshittion and become cultural goods experience consitona ‘changes ts areal. They become pulgaized,Inlevant consumption estoy them. Not merely do the few tings played agin and sean eaton ~, | [Sie noon wth we nea o ees btn ‘Septions yee pniadon be whe mast mpe™ a cf dcr panko cians and maori of cent puts, ak cna reptsarhe 8 pense epee Tae eon at ‘Serene onions. egy ow ot Wage Teme ej moe, Mowat aleteder a ee re NET A Deckatee Teeter ano ‘spontaneously experienced, can never be appropriated. The man who ‘Fin suey etn) wht uty Oemeo! te eae ot Shah Prt lay par ive wher Ba ice ‘ Jnmpaton of hfs ft thoes inden vicaty sein aesbontoh oes Note scone Init pee ete arc He Fomutcang of ‘particulars eats away the body ofthe whole, the endangered substance [Tpavnaly caper tT, wich enc be tiled rekon charac of saga i! Inicalhe ‘Spacer ef posoay, vu sn spony of precio Rve ton cmt rnb wet Hee Jou bcaae ty dlnegning werk rsoct te ‘sone ois seman, hs, ons seeogped se Ban Pome uj et ton ete Inala ak re Spicy in esl uct onion pramans sno inne froma te "pus wakbtbe preston he ‘tied wihaisure wich empha tinge oes (otoid be maton dee ‘Vguiaton sd cicharmes, bate sts, del ioptti tbe aragenct nich hve glo ge tus of mip The Y (qt shammgement ets be mnt dene dimen ‘ens sc ote tay sch eile s tei es ut fe an ten op 8 pow. ‘Saute the mately fe whe wok tod gs rand way Bate! opr possess The mins tom Monet's Eft Aidt Symon. payed witow fe ot movement, es = ee Pron a in Fri Carr Ma a Reno of Liang symphonic cobston ands tuned by th performance into an atin uti arto wa evn opis hema im demanded ‘ape gee pee that has met do with the "Sephari Gaon tem in flliment of ther adverts le The desing op and {hon with the sof casi ts opposed to svete. lng po tend ris he inet pest sketched ‘Then thee the rangement neler tems. They arange tu inthe mation of he nd wo himself ver and aint the (Comsterer thy can gt old at lng a the wkse of famous ! insiuion sta interdum of te large sae ob iat ‘etree does no forbid it in thei ig uc he arangers (lenis ost othe calty inhib inva! odin was kept | te he oly ined mascians, te fel cal on jump aan _ ein bounds in ret mai nstead of hs, here develops a sp | the more unesinely with cultural gods. All ut of reasons ae Toston whch a every epbetay it fast by tomo, offre by tem for inirumentalamangements, In he case of great tthe mac. Schuter’'s Serenade inte tlown-o sound of he ((ortesal works i wil reduce the como the composers ae acased entiation of sings andpino, wth sly excessively of he Fass teu ene eaten irnatve inermedate menses, i as nomesial as iM had ‘tex, The agument of ceapnese, which esthetcalyconionns llores in agi achol But neither docs the prize song rom elt, sos oy reference te pry of och mare Mebtersnger sound any mewe Stes when played by a ting 0 a the disposal of preiey those who mom eagerly ary on the “hes sone. In monochrome, bjctel loses the aration a tame ny ei a ten nae Stic mes vale m Wages, But he sane ie mel arangements of piano pees, the arrangement tr ut uy ecomes quite viable forthe steer, who 0 longer as 0 pt Sani eae than performance inh gale, And ly, ny of te senp tps fom diflecat clos, bt canconentiy the belt tht oer music needs a colori iebening up prety {he hamslf over tthe single nd unimerpted ble mel Here ‘os ah acetal charac in the relation bewecn Color ond ne one can put om'shandson te anagoni oth ate ino wich Such a ould be ated ony as renltof ecodeniguore veri rants cas fal ay, But one may suport at te Viena cssicism and he soapy arranged Schubert Even fe “ot sere! of urangements the compulsion not eave any hing tel dicovery tthe cloviste dimension ft ok place ine fit ay ns cm anybing ht rns ons ph 3 Betas and Wager the coloristc parsimony of Haydn or Bechoven ‘Compan iat gro retr he esthe fundamental characterise / 8 oF piece with he predominance of he ici af consacton ‘toa exists lend tees being ted with Tht sci ver the mole pte spigig in tla clos ca fhe [Panp cons fs power and mastery estanp whichis meres yamisuniy. Precis inthe content of sich parsimony dot fi ating tha als ino ts machinery. But this affiaton ‘tastoon tid tthe heating ofthe hid Leonareovenurc the Iwi esetive. Contemporary snes would vay pre © ‘hoe cudenra inthe reprise of eis overeat te Fitch dss wht ty bln ied espet, and tei enti ‘ower which would be izewevahy lot nx multicolored sont, ‘One must therefore assume thatthe motives forthe practice of srranging ae sui generis. Above all ranging scks te make he lieady prepared an preseribed by tb production. “The price of arangement comes trom salon muse I the ‘prctic of velinsdentrtinment which bros its pretensions rom, (eit a snc vay a apc fe pl nd ier gear en he pean Semaine. Te ted banana cp trang acral of tee of ik omg. Sch entries forme onthe sh ado te propey har served atanazcomparinentiopco'sburing, My sends | Sri intr ia stich rere se veo me in, och ely ne tab sei | tomeles it th fame of th lier as es unr a ‘yore anymore and inal ctsion of clare ees ote! a (imshaies tien pay imannree Seema \ fre ito te bckgrounds One has te choke of either dilly Cites of imesxy and iicy: Coane, iin omg lng ithe bss on riey not he lated an eared by aramgenens ec Tr be Ne ae aca ieee el for bing to spre , (Beatin rin et ny nner fe whe, A (hon edging trash served up for theese nel nets of ‘eins of sensory pleasure wbich mers cut he econpng the mass: The uncompling an supertical mare te objet of tcfined ener’ icv lets te ateivenes of he Tees. One poser god concen femal se oe terns tenes st ts pode Tote objeto thse re Sted dug on he mark oe ely with py at i hat thy wanted an argent chan aly ais by | agnosis ote santion of elsenes bon ough sight nt | te whol proces which unter rcs ndconsumers in alae | eat amon Buti ules aot eventhe ower groupe sma wich mobiles patos of dsance gta eed ene. int. The pur of seve wo thecate,wihrich pes he ers fens ut be anil tm a vuln an angen The fica el of performance, whch covers the (Cea asa reat of Toranin’'sextadinny acest, helps to ‘Seton conten wich, nape of Er Siucrmamn, ye ill te tbs of precton. Tobe ste, he names of fans ‘orks longer nad ties, ahve hee ne at ea note programs alist make te initin tote sal repre seem dese Tobe sre, psags arent eel orcas ‘vestesed forthe sake of fascination. Tere ison siping Bat recily ron. The new eth the esl uctonng, meal aly sia apparatus asx in which al he cog meso Tero sat et he sigs ole rein pen fr the meaning of te whol. Pret, inact perfomance ne ats sl serves the work he pice ft definite ication, presen as ey complete om the ey fst me The promaneesans ists own phonograph recor. The dyna isso precermine hat there ar no longt any tsi a ll The cotadion f the (ae ‘atl eS exo eed i te momen ound that never aries athe Sys, te self pestion ofthe wor, hich reveals the meaning of every Becthoven symphony. What the int of the symphonic effort when the mation which tht ff was to fesed has already been ground up? Te protetivefaton ‘ofthe wark leads is destutin, fortis tealzedinprecly "hat spontaneity which i saceifiedto the fixation, This last fershism, hic seizes onthe substince set, smothers tthe absolute aut ‘ent ofthe appearance fo the work denies the lair and makes it ‘soppeas umotced behind the spars, just as ceriin swamp

    Potrebbero piacerti anche