Maria Patricia O'Connor:
An Adornian Interpretation of Brahms' German Requiem [PDF]
Jg. 8 (2005), S. 58-79
Abstract
The problematic reception of the German Requiem is intrinsically linked to the fact that in the nineteenth century the Requiem genre hinged entirely on its use of text. While tendencies did exist with regard to minor tonalities, key relationships within the work, texture and orchestration, the only truly unequivocal distinguishing characteristic of this genre was that it was based on the Ordinary of the Missa pro Defunctis. Because the text of the German Requiem does not follow this textual formulary, the prescription Requiem in the title Ein deutsches Requiem nach Worten der heiligen Schrift, is technically, as regards generic classification, a gross misprision. Nevertheless Brahms dubbed this work thus, and, over the course of history, it has become almost impossible for us to consider it as anything else. In adopting Theodor Adorno's critical stance, this essay argues that despite the absence of the Latin text, this work does not sacrifice its essence as a Requiem. In accordance with Adorno's assertion, that genres must be constantly attacked in order to bring out their strength and possible importance, it demonstrates that by distorting the Requiem genre, Brahms responds authentically to the material given by tradition.
Dokument erstellt am 12. März 2006