Šubert i Betoven - Adornovi prvobitni antipodi muzike građanske epohe

Abstract

U članku autori rekonstruišu dihotomije koje je mladi Teodor Adorno nastojao da otkrije u muzici građanske epohe i personifikuje ih u dvojici antipoda - Francu Šubertu i Ludvigu van Betovenu. Iako je već tada bio obožavalac Šenberga i muzičkog avangardizma 20. veka, Adorno se u svojim radovima pre egzila iz Nemačke 1934. intenzivno bavio Šubertom i njegovom opozicijom Betovenu. Dok je Betoven bio nepokolebljivi i progresivni revolucionar, fasciniran 'praktičkim umom' i misijom uzdizanja i domašivanja zvezda, Šubert nije hteo ništa od toga (skoro predviđajući neuspeh celokupnog revolucionarnog projekta). Umesto toga, on je gledao unazad, u primordijalnu prirodu i u mogućnost čoveka da participira u njenim mističnim ciklusima smrti i regeneracije. Izostanak sinteze između ove dve tendencije u muzici na početku građanske epohe vodio je 'negativnoj dijalektici' Šenberga i avangardizma 20. veka i konačnom razdvajanju betovenovskog muzičkog napretka i šubertovskog muzičkog mimezisa.

In this article the authors are reconstructing the dichotomies which the young Theodor Adorno was trying to detect in the music of the bourgeois epoch and personify in two antipodes - Franz Schubert and Ludwig van Beethoven. Although already a devotee of Arnold Schönberg and the 20th century music avantgardism, Adorno was, in his works prior to his exile from Germany (1934), intensively dealing with Schubert and his opposition towards Beethoven. While Beethoven was a bold and progressive revolutionary, fascinated by the 'practical reason' and the mission to rise up and reach the stars, Schubert wanted none of it (almost anticipating the failure of the whole revolutionary project). Instead, he was looking backwards, to primordial nature and the possibility of man to participate in its mythic cycles of death and regeneration. The lack of synthesis between this two opposing tendencies in the music of early bourgeois epoch lead to the 'negative dialectics' of Schönberg and 20th century music avantgardism and to the final separation of Beethovenian musical progress and Schubertian musical mimesis.