Page - 568 - in Arthur Schnitzler & Hermann Bahr - Briefwechsel, Aufzeichnungen, Dokumente 1891–1931
Image of the Page - 568 -
Text of the Page - 568 -
568 dezember 1922
ing Austrians whose Fatherland disappeared beneath our feet seek
tocomfortourselves.
75 A very curious work on Johann Sebastian Bach’s Chromatic Fan-
tasy and Fugue which appeared first in extracts in the Preussische
Jahrbücher,hasnowbeenpublishedinitsentiretyundertheimprint
of Georg Stilke of Berlin. It is arousing much attention, and on the
one hand is praised quite as much as it is attacked on the other. Its
80 author isHeinrichSitte, thearchæologist,of theUniversityofInns-
bruck.Therehasbeenmuchshakingofheadsamongthe»experts.«
Theprofessionalmusiciansaskwhat titlehasanarchæologist toen-
teradiscussionaboutBach,andtheprofessionalarchæologists take
theviewthatit isunseemlythatoneoftheircolleaguesshouldbeco-
85 quetting with Dame Music. Both sides had to be reminded that the
famous Mozart authority, Otto Jahn, was also an archæologist by
profession. Camillo Sitte, Heinrich’s father, was both architect and
teacher of art; he organised the Staatsgewerbeschule of Vienna, and
wrote the famous book on »City Building,« which made an entire
90 generationrealiseagainthateverypropersquareinacity,evenevery
street corner, must be arranged according to definite laws, though,
of course, unconsciously. Camillo Sitte’s most intimate friend was
Hans Richter, the Wagner conductor, and so young Heinrich grew
up in the midst of both the plastic and musical arts. He was a thor-
95 oughly trained pianist, just about ready to appear in public for the
first time,whenfinallyheunexpectedlydecidedinfavourofscience.
If Bach was the last word to him in music, so in archæology all his
efforts were directed towards the frieze of the Parthenon. Phidias
to him is for the eye what Bach is for the ear. He, as it were, re-
100 gardsthefriezeoftheParthenonasavisibleChromaticFantasyand
Fugue.Oronemightexpress it inthisway: ifonewantedtoexplain
the Chromatic Fantasy and Fugue to a deaf man, it would only be
necessary to show him the frieze of the Parthenon. This new book
about Bach arouses so much favourable and bitterly hostile com-
105 ment, chiefly on account of the strange discovery which the author
claims to have made concerning the real genesis of the Chromatic
Fantasy.HowdidBachcometoit?Howdiditoccurtohim?What
was the first thing to occur to him? It occurred to him to compose
hisownname,andhediscoveredthateverythingwentbeautifully,as
110 soonashe lethisnamebecomechromatic.After theFantasybreaks
down into chaos, the Fugue begins again bravely and confidently
with a, b, h, c. As soon as one dechromatises a, b, h, c the result
is Bach,i the composer’s name. Bach himself, as we know from an
eighteenth-centurymusicallexicon,wasproudofhispurelymusical
115 name. He introduces it in the C sharp minor fugue of the Wohltem-
periertesKlavierandintheInvention inFminor for threevoices. It
back to the
book Arthur Schnitzler & Hermann Bahr - Briefwechsel, Aufzeichnungen, Dokumente 1891–1931"
Arthur Schnitzler & Hermann Bahr
Briefwechsel, Aufzeichnungen, Dokumente 1891–1931
- Title
- Arthur Schnitzler & Hermann Bahr
- Subtitle
- Briefwechsel, Aufzeichnungen, Dokumente 1891–1931
- Editor
- Kurt Ifkovits
- Martin Anton Müller
- Publisher
- Wallstein Verlag
- Location
- Göttingen
- Date
- 2018
- Language
- German
- License
- CC BY 4.0
- ISBN
- 978-3-8353-3228-7
- Size
- 14.6 x 23.4 cm
- Pages
- 1010
- Categories
- Weiteres Belletristik
Table of contents
- 1891 7
- 1892 18
- 1893 31
- 1894 64
- 1895 91
- 1896 115
- 1897 135
- 1898 160
- 1899 167
- 1900 173
- 1901 192
- 1902 222
- 1903 246
- 1904 288
- 1905 338
- 1906 371
- 1907 386
- 1908 401
- 1909 413
- 1910 433
- 1911 447
- 1912 463
- 1913 480
- 1914 492
- 1915 497
- 1916 502
- 1917 507
- 1918 510
- 1919 526
- 1920 536
- 1921 539
- 1922 547
- 1923 570
- 1924 583
- 1925 584
- 1926 585
- 1927 586
- 1928 588
- 1929 590
- 1930 593
- 1931 598
- 1932 604
- 1934 606
- 1936 607
- 1962 610
- Quellennachweis und Erläuterungen 632
- Buchausgaben im gegenseitigen Besitz 787
- Theaterbesuche 792
- Auszüge aus Schnitzlers Tagebuch 793
- Editorische Richtlinien 796
- Die Korrespondenz Bahr –Schnitzler 813
- Nachwort 820
- Dank 864
- Verzeichnis der Dokumente 866
- Korrespondenzpartner 902
- Register 916