ďAuch das SchŲne muŖ sterbenĒ. Brahmsí Nšnie, op. 82
Translation in Greek: Konstantinos D. Kakavelakis
This article was published by the editors H. Geyer and W. Osthoff in the year 2007, in a series of scientific publications of Franz Liszt Music Academy of Weimar, after a successful conference which took place in the same Academy during September 2005. In that conference was closely examined the relation of Schillerís poetry to music and generally the mutual influence between poetry and music. After a generous exclusive permission of the author to the journal Musicologia, we are now able to present this article in the Greek language.
Constantin Floros unfolds revealingly and methodically the historical background of the fragile relations between Johannes Brahms and the painter Feuerbach, using as strand of the historical weaving the hidden programmatic thought of J. Brahms, which is reflecting in the music-setting of Brahms on Schillerís poem Nšnie. The allegorical, archaic and mythological encryption of the beautiful in the classic poem of Schiller takes new dimensions in the music-setting of Brahms through the transubstantiation and musical systematization of Schillerís words, while the fable meets two real persons: the painter Feuerbach and his mistress Henriette. How original were the programmatic musical intentions and thoughts of Brahms? To what degree was he influenced from an analogous music-setting, on the same Schillerís poem, which was realized by the composer Hermann Goetz some years before? Constantin Floros presents here a detailed comparison of the two different music-settings of the two composers. He also presents other interesting notions, like the way that Europe had understood beautiful and the relations between beautiful and time in the different European music conceptions about the end of the 19th century.