Category Archives: Classical Music

Friends making Music together (2)

Dr. Pantelis Polychronidis is a consummate collaborative pianist: He does not accompany fellow musicians but actively works with them to create new music, unique compositions that have not been heard before. This is especially evident in his meticulous work with … Continue reading

Posted in Classical Music, Collaboration

Α melancholic ethic

In all kinds of work associated with Robert Schumann a ruminating protagonist draws on melancholy as an ascesis of affect to practice a post-classical critique of repetition and identity. We see this role everywhere, from the Byronic unrepentant hero in … Continue reading

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The care of the self as care of the “other self”

What is the meaning of Aristotle’s notion of the friend as an “other self”? An etho-centric (as opposed to ego-centric) understanding of the notion, one centered on character, posits that the highest friendship is based on the friend’s valuable traits … Continue reading

Posted in Classical Music, Friends, General

The alienated philosopher: Adorno on Beethoven’s Missa Solemnis

By making failure the redemption of success, Adorno damned all classical music. Only Missa Solemnis resisted his prophetic fury. Adorno resented Beethoven’s Missa (1819-23), op. 123, because he could not fit it into his grand narrative of “late style,” of … Continue reading

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Franz Liszt’s services to artistic sacralization

Franz Liszt (1811-86) is a pivotal cultural figure in that the entire formation of classical music as a public institution can be traced just through his career, an inescapably central nexus in the sacralization of high art. Everything that has … Continue reading

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The emergence of Listening as a practice in the early 19th century

I have always been very interested in the disciplinary regimes of artistic production (such as the arts) and the hermeneutical control of their explication (such as the readings of arts). I have published an entire book on literary interpretation as … Continue reading

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The concerto as ‘Bildungsroman’

Rachmaninov’s 3rd Piano Concerto (1909) can be interpreted by both soloist and listener as a supreme Bildungsroman. I become fully aware of this approach when I watch the possessed Daniil turning the concerto into a bravura self-formation. He is enacting … Continue reading

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