What makes classical music timeless

Is classical music "timeless" or has it "survived"?

Published on: http://www.walcker-stiftung.de/Blog.html

Istheclassicmusic "Timeless" orHasyouyourself "survived"

by Roland Eberlein

In the previous blog post "The new organ music spread in popular styles yourself"I wrote the following sentences:

"The youngsters feel that theclassicmusic is not the expression of their time, their attitude to life, their feelings,

but the expression of an earlier time and yourself therefore survived Has. Of course, it can be nice to be in the World of sensation

from an earlier time to slip into a carnival costume. But on the You don't want to be in a dressing-up for a long time

dung live. And so seeks and develops the Youth the musical expression that suits them. "

An earlier version theThese sentences sparked a long discussion in the German-speaking organ forums. Against

the Sentences were objected to that theclassicmusic "timelessly valid" is and yourself therefore basically not "survive"

could. I therefore want to the sentences above and theTake a closer look at this objection here.

What does "musicHasyourself survived "one musicHasyourself survived if you is still being played, but not

is perceived more as current, but as part of an earlier, bygone time, i.e. as "old-fashioned" or even "ancient"

appears. Everyone is known to be music, every art time arrested, there the Fashions of their time in you flowed in

are - why themusicscience the Creation time of a music usually accurate to at least one generation

can estimate, even if the Origin and composer are unknown. If in earlier centuries

a music, an art was perceived as old-fashioned and no longer up-to-date, so it became you usually just ad

actas laid and forgotten. For example, were the Works by Johann Sebastian just a few decades after hers

Origin as admirable in its craftsmanship, but felt old-fashioned and out of date in style and expression.

Were accordingly you Hardly heard by the audience: Bachs musicHaste yourself "survived".

But where does it come from? the Conception, "high" music and art is timeless The idea of ​​the "timelessness" of music

and art is a product of the late 18th and early 19th centuries. In thethis time was the idea

developed, "high" art and music be some kind of divine revelation, the has been given to a genius - and divine

Revelations are just timeless.

The consequences theThis idea was profound. On the one hand, a distinction began to be made between those who were arrested

Works by "minor masters" and the immortal works of geniuses - for example, Salieri's works were

forgotten as the temporary works of a minor master, the Mozart's works, on the other hand, are immortal musical revelations

continuethert, although their contemporaries valued both equally as composers.

A second consequence was that one yourself in the 19th century gradually for themusic of the geniuses from earlier centuries

too interestingyouren began - including in particular themusic by J. S. Bach. Mendelssohn's performance of the St. Matthew Passion

1829 would have without the Idea of ​​the timeless validity of what is revealed to a genius musicyourselfit did not take place.

Today is theThis idea is still in some feature articles and in musicto find lovers unreflective.

The musicbut science understands yourself not today as a theology specializing in "musical revelations",

but as a rational science. Hence, consider no musicscientists more seriously certain

Compositions as divine, timelessly valid revelation; therefore is for themusicevery scientist today music time arrested.

For the earlier, on the cult of genius bayoumaking value judgments about musicHasthemusicscience today only

still a tired smile left - you to have yourselfyourself proved to be just as time-arrested and scientifically not justifiable.

However, from today's perspective, a music and art may gain new topicality after a long time.

This was the case in the 20th century, for example, than after the First World War the collapsed pre-war society

and their romantic, "subjective" music appeared to be hollow, mendacious, pompous, feisty and sentimental

and yourselfthemusiche based on models for a new, "objective" music looked around. Appeared as a suitable role model

thethis generation the Bach and Vorbach polyphony. These music was now felt to be extremely topical again

- why these music experienced an unprecedented renaissance. For many people of the 20th century


- 2 -

became derts these old one music quasi for music their own era, there you the new contemporary music because of the

Not wanting to disclose the tonality.

But meanwhile have yourselfthe Conditions changed again. The popular music Hastheclassicmusic so strongly repressed

that you has become a mere marginal phenomenon in society. Whereas in popular music life

pulyourt and almost daily new songs and new ones musicpush groups into the market, the are associated with certain

youthful lifestyles or "Subcultures" exist in the field of classicn music no yourselftable development

and their listeners mostly belong to the older and oldest generation. Recognize it exactly the today

Adolescents, "that theclassicmusic is not the expression of their time, their attitude to life, their feelings, but

the expression of an earlier time and yourself therefore survived Has." Different to the young generation in the decades after 1920

youht the today's youth the old music also not as a model for a future new one music. The youth connects with

the classical music no longer hopes, but you appears to them simply as ancient. This generation will therefore

in their overwhelming majority never have any appreciable interest in the classicn music develop, even if individual

theclassicmusic possibly appreciate it, precisely because you So remote from contemporary music, so strange

and is ancient. Some might also sound like the classicn music find very pretty. For a

Survival of the classicn music that won't be enough: concert series, the take place permanently in front of almost empty halls,

have to be stopped, orchestras without engagements have to be dissolved. To avoid both, will

you are forced to develop new concert programs, the better serve the interests of the younger generation.

The end of the program change will have the effect that theclassicmusic little by little by others

music is displaced.

Also theclassicmusic is not "timeless", but time-bound, and can yourself survive: Not only themusic

by countless "minor masters" has been forgotten, but also themusic of grandmasters of musichistory

like Claudio Monteverdi and Heinrich Schütz fell into oblivion, even themusic by Johann Sebastian Bach Has

yourself survived after 1750. What pasyourt can also pas a second timeyouRen. Much suggests today

indicate that theThis could happen a second time in the coming decades. Nothing is open thethis world

Timeless. As the preacher Solomon wrote: "Every one Has its time and all purpose under heaven Has

his hour ".

Reasonably should yourselfthe Prepare the organ world in good time for the possible or even probable disappearances

an audience for theclassicmusic total and theclassic Organ music in particular. Not at all

may these development, so you because should come, lead to the instrument organ falling out of use

and the existing organs are no longer maintained, deteriorate and eventually perish. Only as long as there are organists

there and the Organs exist and are cared for is a survival of the classicn organ music in modest,

museum dimensions and later perhaps a revival of the classicn organ music possible! It is

therefore indispensable that the Organ world musical alternatives to classicn developed organ music, the interests

to meet today's young generation, so that such young people the no interest in the classicn

Organ music for the instrument as a listener or even players can be excited. The new organ music

in popular styles is a good place to start.

Published on: http://www.walcker-stiftung.de/Blog.html

Published on: http://www.walcker-stiftung.de/Blog.html Is the classical music "timeless" or has she herself "survived" by Roland Eberlein in the previous blog post "The new organ music spreads in popular styles spreads "I wrote the following sentences:" The youngsters feel that the classical music is not Is an expression of their time, their attitude towards life, their feelings, but rather the expression of an earlier time and themselves therefore has . Of course it can be nice in die To slip into a world of sensations from an earlier time like in a carnival costume. But for the long time you don't want to live in disguise. And so the seeks and develops youth the music that suits you alic expression. " An earlier version of the of these movements sparked a long discussion in the German-speaking organ forums. Against die sentences it was objected that the classical music is "timelessly valid" and is therefore basically cannot "survive". I would therefore like to take a closer look at the sentences above and the sen objection here. What does " music has survived " a music has survives if it is still being played, but is no longer perceived as current, but as part of an earlier, bygone time, i.e. as "old-fashioned" or even appears "old-fashioned". It is well known that every music , every art is arrested in time, since the fashions of their time have flowed into they - which is why die < strong> music science the time when music was created can usually accurately estimate at least one generation, even if the origin and the Composer are unknown. If in earlier centuries music , an art was perceived as old-fashioned and no longer up-to-date, it was usually simply shelved and forgotten. For example, just a few decades after their creation, the works of Johann Sebastian were perceived as admirable in their craftsmanship, but old-fashioned and outdated in style and expression. Accordingly, they were hardly ever heard by the audience: Bach's music has te itself "outlived". But where does the idea that "high" music and art are timeless come from? The idea of ​​the "timelessness" of music and art is a product of late 18th and early 19th centuries. In the this time, the idea was developed that "high" art and music were a kind of divine revelation, die has been granted to a genius, - and divine revelations are just timelessly valid. The consequences of the this idea were profound. On the one hand, a distinction began to be made between the time-arrested works of "minor masters" and the immortal works of geniuses - for example, Salieri's works were forgotten as time-arrested works by a minor master, whereas the works of Mozart were passed on as immortal musical revelations > die rt, although their contemporaries valued both composers equally. A second consequence was that in the 19th century people were gradually becoming interested in the music of the geniuses from earlier centuries them ren began - especially the music by JS Bach. Mendelssohn's performance of the St. Matthew Passion in 1829 would not have taken place without the idea of ​​the timeless validity of the music himself revealed to a genius. Today the se idea can still be found without reflection in some features articles and among music lovers. The music science, however, sees itself today not as a theology specializing in "musical revelations", but as a rational science. Consequently, no music scholar seriously regards certain compositions as divine, timelessly valid revelations; therefore, for the music scientists today, every music is time-arrested. For the earlier, on the genius cult ba they render value judgments about music has the Music science today only has a tired smile left - they have proven themselves to be just as time-arrested and scientifically unfounded . However, from today's perspective, music and art can under certain circumstances gain new relevance after a long time. This was the case in the 20th century, for example, when after the First World War the collapsed pre-war society and its romantic, "subjective" music appeared to be hollow, mendacious, pompous, sentimental and sentimental and himself the music he looked around for models for a new, "objective" music . the this generation the Bach and Vorbach polyphony appeared as a suitable model. This music was once again perceived as very topical - which is why the se music experienced an unprecedented renaissance. For many people of the 20th century