„Bach in die Synagogen!“. Erlösende Noten in Franz Rosenzweig
Starting with theoretical considerations on redemption in Rosenzweig’s Der Stern der Erlösung, this paper highlights the connection between redemption and choral form in Church music (e.g. in Bach’s Passions and in musical mass). Therefore, according to Rosenzweig, one can clearly distinguish betwee...
| Auteur principal: | |
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| Type de support: | Électronique Article |
| Langue: | Allemand |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
De Gruyter
[2020]
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| Dans: |
Naharaim
Année: 2020, Volume: 14, Numéro: 2, Pages: 209-223 |
| Sujets non-standardisés: | B
Franz Rosenzweig
B Music B Redemption B Postmodernity |
| Accès en ligne: |
Accès probablement gratuit Volltext (Verlag) Volltext (doi) |
| Résumé: | Starting with theoretical considerations on redemption in Rosenzweig’s Der Stern der Erlösung, this paper highlights the connection between redemption and choral form in Church music (e.g. in Bach’s Passions and in musical mass). Therefore, according to Rosenzweig, one can clearly distinguish between sacred/religious (geistlich) and spiritual/intellectual (geistig) music. Rosenzweig also writes about renewing Jewish worship through Bach’s vocal music, but we are given scant hints about this. “Bach in die Synagogen!” is nevertheless important, not only as an example for interreligious dialogue, but above all as an invitation to think about redemption in the postmodern condition. |
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| ISSN: | 1862-9156 |
| Contient: | Enthalten in: Naharaim
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| Persistent identifiers: | DOI: 10.1515/naha-2019-0009 |