The fourteenth century has been dubbed the calamitous’. And in a political sense, this position is justifiable. Yet a focus on its calamities might blind the reader to some of its musical triumphs.
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The fourteenth century has been dubbed the calamitous’. And in a political sense, this position is justifiable. Yet a focus on its calamities might blind the reader to some of its musical triumphs.
For some, he was a God, for others, a tyrant. He was loved and loathed in equal measure, and often for the same reasons. So who was Gustav Mahler? And can we get to the bottom of this double man?
Having identified as risible attempts to forcibly assert Truth by means of hard-lined aesthetic dogma, the Postmodernist reacted by withdrawing from the world, and then bursting into uncontrollable laughter over the hopeless mess of it.
Without necessarily knowing it, all major Modernist artists from Schönberg to Cage, from Picasso to Pollock, had systematically broken down Beauty. By the time the Fluxus artists rose to prominence in the ‘60s, Beauty as we’d known it for five hundred years was no more.
As the eighteenth-century rolled on, god’s divine light grew dimmer and the light of man’s reason, brighter. It was the beginning of a self-referential, human-derived and human-validated moral order. It was the beginning of the Enlightenment.
After Beethoven, it would no longer be acceptable for any serious artist to speak the same stylistic language as his influences. ‘Originality’ quickly diffused itself and became the norm. All artists working subsequently have operated within this paradigm. This is the Romantic legacy.
In the mid to late fifteenth century, there began to be felt, in Europe, a shift in our way of seeing the world so far-reaching in its implications, that it has since been deemed as marking the dawn of modernity. It is known by the name Renaissance, or ‘rebirth’.
Beauty, as it was conceived by the Medieval artist, was to be put to use in the service of that one, supreme governing principle; that value of all values which itself legitimated Beauty, and rendered meaningful all attempts to pursue it: god .
This article, published in Limelight Magazine’s August 2013 edition, examines the life and legacy of Australian pianist David Helfgott.