Helmut Kirchmeyer: Ideologische Reflexion und musikgeschichtliche Realität

Kritische Betrachtungen zum Prinzip zeitgemäßer Vorstellungen von Objekt-Wertungen und zum Problem einer virtuellen Musikgeschichtsschreibung*

Any given judgement characterizes both the object in question and the renderer of the judgement. Viewpoints and perspectives that are catapulted into independent entities produce upon reflection notions that have no basis in reality and whose simulation can lead to virtual facts. This premise, exemplified by way of four main instances, maintains: 1) that the “Group des Six” was not a close-knit circle of artists but a historically meaningless myth instigated by Cocteau; 2) that from the beginning, Adorno’s antipodal alignment of Schoenberg and Stravinsky lacked any correlation in artistic reality; 3) that Hanslick’s polemic against contemporary art (and how the effects of this polemic on his time is overestimated in Germany today) obliges the tendency to disqualify the new by applying either an outdated or non-existent aesthetic; and 4) that the rebuke of Wagner’s extreme nationalism crumbles when placed in the context of the artistic processes of his day. Further reflections, interspersed throughout, offer additional evidence of virtuality’s presence in historiography—invented composers, artistic ideas lacking corresponding enablers and the impact of this upon both the virtual and the real course of art history, opposing concepts of music research in Germany after 1945 that did not lead to methodological reform, and finally the relationship between mythification, falsification, and virtuality.

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