Quasi na Fantasia
places in which you have never stayed, but whose towns and cies
are familar. Even when you ate no expert in the geography of
the regions you ate traveling through, you can guess the
sequence of the stations simply from the atmosphere of each
place name, which seems to suggest how close it isto, or distant
from, other placesin the same region. Fulda: the next station has
to be Erfurt, since its aura suggests that i lies between Hesse
Cassel and Thuringia. You then expect Weimar, which does
indeed lie in the fantasy realm of Thuringia, but, unlike Hall,
far from being so clearly located in a state witha Saxon dialect If
you then stop over in Halle and Erfurt these differences may
cally shrink and the people and cities may turn out to be very
similar. Only when you have looked at the map and constructed
the constellation which all these owns form together docs the
‘original picture reimpose itself. What is needed is a precise
‘overview of the Straussian province. Even more, you have t0
have left it behind you in order to discover once again the
chemical, highly industrialized and neonslt character of his Ar
Nouveau that was once advertised by the name Fakir.
1929)
36
Commodity Music Analysed
Gounod's Ave Maria: an Englishman has proposed this formula
for musi hall: Pu thee half-naked girs on a revolving age. Then
flay he organ. This recipe is foreshadowed inthe Mediation Its
| piece of sacred pop music featuring one of those Magdalenes
notable equally for their penitence and their seductivences,
Overcome with remorse, they reveal all, Thus saccharined
religion becomes the bourgeois cloak fora tolerated pornogra-
phy. You say Bach, but you mean Gounod, You have the
rigorous prelude, but what you really respond to isthe soulful
melody. On the organ for preference, but withthe violin obligato
nthe Vocal part. tis the birth ofthe Wurlitzer from the spirit of
Faust archetypal cinema muse
Its basic gesture is supplication in pious selabandonment.
“The soul delivers itself into the hands of the Almighty with
uplifted skirt. This is how Henny Porten pleaded for mercy
(One of her earliest films was The Paron’s Daughter, It ended in
death,
‘The music rides roughshod over the words. Where they are
felt obe inadequate, they ae repeated. Thereisno proper place
2 Lene as deta
3, Hen Poem (18001060) vy a acres of te German set sen,
ceed Torr vot ied nae
7Quasi una Fantasia
forthe ‘ructus ventrs tui. Ie acquires that dubious imitative
{quality which the words blessed be the fruit of thy womb’ had in
childhood, But there sone word the music penetrates tits co
Itis'peceatoribus’. Ifthe soaring note of redemption is prepared
for by the restraint ofthe ‘Ora pro nobis so that you can bear
‘wellin advance just how high thas to go, then the Latin ablative
tending isthe springboard that propels the sinners into the next
world: It ison peceatoribus’ thatthe skirtraising gesture fall
"The dese that bears her aloft reveals her thigh. But the upward
sweep isso overwhelming that even the moment of our death is
powerless before it. The climax comes, God alone knows why.
‘wth the “horas once the ‘peccatoribus’ have experienced their
moment of bis, itis irelevant to ask where they have been
transported o. The upward surge carries the hora mortis along
with it and, without leuing you catch your breath for even 2
‘moment, it culminates joyously in the superfluous Amen’. Since
the mage of utopian happiness has vanished from great muss
is preserved only by inferior music, but in eariatured form,
perfect illusion as prayer.
Rachmaninov’ Prelude in C-sharp minor: there are passages
Familiar from pieces for children nd from school concerts which
are marked “grandioso’ Tiny hands execute the gesture of
Strength. Children imitate grown-ups, perhaps even the virtuosi
‘who have been swotting up ther List. I sounds tremendously