Saturday 22 December 2007

Just saw Szabó’s film on Furtwängler

My reluctance to accept the thought that a poet could “give a voice to that which has none”, or in other words, to act as a stand-in of sorts in prayer (see my “Schreiben als Form des Gebets”) – or let’s say, even, my very disgust at the thought.

What was I thinking?

Perhaps I wasn’t – but such unthought things return nachträglich. My disgust – it was directed at the idea that the most intimate, most private voicelessness, wordlessness, could be substituted, surrogated (is there such a verb? have to check), like a poem by its interpretation, as Th. S. explicated my implications... (but that’s different!)

The most intimate, private voicelessness (Schweigen) substituted by a public hearing.

Yes, music is a way of not speaking.

If I may say so.

[Added much later, a clip on Furtwängler conducting An die Freude on April 19, 1942 – "Duldet mutig, Millionen! /Duldet für die beßre Welt!" etc. – :]

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