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
Schiller’s 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 Schiller’s
poem Nänie.
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 Schiller’s
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 Schiller’s 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.