著者

清水 康宏

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.133, 2018 (Released:2019-06-01)

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In the 19th century Beethoven’s Missa Solemnis was criticized for not being suitable for a church service because of its large-scale orchestration and difficulty in a vocal part. Ludwig Nohl, a music critic who was around “the new German school,” however, argued the significance of this Mass as the religious music and the religious manner of the composer, instead of discussing its usability in the worship of the church. He considered Missa Solemnis as “Scheinmesse (apparent Mass)” which was dissolved into a merely aesthetic appearance. It was because that the “transcendent” mindset of the composer never realized the beauty which was not “apparent” but concrete or “immanent” and was for the German people. This mindset was created from the personality of this composer as “Humorist.” In this Mass, Nohl found the expression of the complex mind which modern artists had. The precedent studies show that Nohl only evaluated this Mass negatively, but in this paper, I examine his document in more detail and explore how he actually thought about the significance of this Mass.

著者

清水 康宏

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.139, 2017 (Released:2018-07-01)

著者

清水 康宏

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.2, pp.116, 2014-12-31 (Released:2017-05-22)