Title: Carmen, Nietzsche's Muse. Elements of Nietzsche's Thinking in Bizet's Carmen
Abstract: On 27th November 1881, Nietzsche attended for the first time the presentation of the opera Carmen by Bizet in Politeama theatre in Genova. After the performance he wrote to his sister:Yesterday I saw an opera entitled Carmen [composed] by a French composer named Bizet and it was moving. So powerful passionate, so gracious and southern in style.1And at the same time to his musician friend Peter Gast2:Hooray! My friend, I found something good, an opera by Francois Bizet3 (who is he?): Carmen. His work is like a short story by Merimee, spiritual, strong, sometimes emotional. A pure talent of the French comic opera not confused by Wagner, on the other hand, a true disciple of Berlioz. I never thought this could be possible. It seems that French are on the best way in dramatic music, and they have an obvious advantage to the Germans in an important question: to them passion is not exaggerated (as at Wagner, for example)4.Shortly after, he bought a score of the opera (piano version), which he read, reviewed favourably and sent to the same friend as proof for his first letter. Peter Gast' s reply contains a beautiful compliment addressed to the philosopher: are more talented in music than me, the musician! 5 He saw the opera for a couple of times, after which he wrote again to Peter Gast:My friend, yesterday I saw Carmen again, perhaps the twentieth performance in this year, with the house closed as always, is the opera of operas [...] I feel lucky. From the opera, comes to me a deep sense that I intend to retain. 6He continued in The Case of Wagner:Yesterday - would you believe it? - 1 heard Bizet's for the twentieth time. Once more I attended with the same gentle reverence; once again I did not run away. This triumph over my impatience surprises me. How such a work completes one! Through it one almost becomes a masterpiece oneself - And, as a matter of fact, each time I heard Carmen it seemed to me that I was more of a philosopher, a better philosopher than at other times: I became so forbearing, so happy, so Indian, so settled.7Having heard about Bizet's death, Nietzsche wrote:The fact that Bizet died causes me great pain. I saw Carmen for the second time, and again I had the revelation of a first-hand short story, as that of Merimee. A soul so passionate and so graceful·. For me, this opera is like a trip to Spain. A very southern opera! 8His enthusiasm got crystallized in a long-term passion. The opera will be mentioned directly or as a hint in almost all of his important writings. Carmen and Bizet's music will be used as a term of comparison in his criticism of Wagner's opera, The Case of Wagner.But Nietzsche was not only an enthusiastic spectator. His existence was closely tied to music, and in his letter to Peter Gast he confessed that life without music is error, pain and exile. In fact, music has accompanied him since a child. His father, Karl Ludwig Nietzsche, a Lutheran pastor, was known for his improvisational ability at the organ. Nietzsche's first compositional attempt, Ehre sei Gott, written at nine years old, is an improvisation in the style of Handel, heard in his father's chapel. He followed then the Naumburg Gymnasium, where he continued his musical studies and piano with several instructors, including Gustav Krug,9 to whom he would tie a lasting friendship. At the musical evenings organized by his friend, were played works of the great German composers, but mostly those of contemporary composers, including Liszt and Berlioz. Also, around this time, he began self-study of Johann Georg Albrechtsberger's10 compositions. However, he did not follow a musical career, dedicating himself to philology. Although less known, his compositions are appreciated and show a rigorous musician, far from being amateurish. Even one of his most severe critics, Hans von Bulow11, acknowledged Nietzsche's exceptional spirit shining through music. …
Publication Year: 2011
Publication Date: 2011-04-01
Language: en
Type: article
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