{"id":1060,"date":"2005-02-15T18:37:10","date_gmt":"2005-02-15T17:37:10","guid":{"rendered":"https:\/\/www.kritische-masse.de\/wordpress\/blog\/kommende-katastrophen\/"},"modified":"2023-12-18T08:49:27","modified_gmt":"2023-12-18T07:49:27","slug":"kommende-katastrophen","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2005\/02\/kommende-katastrophen\/","title":{"rendered":"Kommende Katastrophen"},"content":{"rendered":"<p><cite>Dies Pianissimo darf man nicht nehmen, wie es klingt, nicht blo\u00df als Reflex der zartesten Regung der Seele, die es auch ist. Oft, gerade in Weberns Orchesterst\u00fccken, aber auch in einzelnen Wendungen der auf diese folgenden St\u00fccke f\u00fcr Geige und Klavier op. 7 und f\u00fcr Cello und Klavier op. 11 ist dies dreifache Pianissimo, das Allerleiseste, der drohende Schatten eines unendlich entfernten und unendlich m\u00e4chtigen L\u00e4rms: so klang, im Jahre 1916, auf einer Waldchaussee bei Frankfurt, der Kanonendonner von Verdun, der bis dahin trug. Hier ber\u00fchrt Webern sich mit Lyrikern wie Heym und Trakl, den Propheten des Krieges von 1914: das fallende Blatt wird zum Boten kommender Katastrophen.<br \/>\n<i>[Band 16: Musikalische Schriften I-III: Anton von Webern. Digitale Bibliothek Band 97: Theodor W. Adorno: Gesammelte Schriften, S. 12782 (vgl. GS 16, S. 117-118)]<br \/>\n<\/i><\/cite><\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Kommende%20Katastrophen https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2005%2F02%2Fkommende-katastrophen%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient id=\"paint0_linear_549_34\" x1=\"37.0692\" y1=\"0\" x2=\"37.0692\" y2=\"79\" gradientUnits=\"userSpaceOnUse\"><stop stop-color=\"#6364FF\"\/><stop offset=\"1\" stop-color=\"#563ACC\"\/><\/linearGradient><\/defs><\/svg><\/span><span class=\"shariff-text\" style=\"color:#6364FF\">teilen<\/span>&nbsp;<\/a><\/li><li class=\"shariff-button bluesky shariff-nocustomcolor\" style=\"background-color:#84c4ff\"><a href=\"https:\/\/bsky.app\/intent\/compose?text=Kommende%20Katastrophen https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2005%2F02%2Fkommende-katastrophen%2F \" title=\"Bei Bluesky teilen\" aria-label=\"Bei Bluesky teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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Oft, gerade in Weberns Orchesterst\u00fccken, aber auch in einzelnen Wendungen der auf diese folgenden St\u00fccke f\u00fcr Geige und Klavier op. 7 und f\u00fcr Cello und Klavier op. 11 ist dies dreifache Pianissimo, das [&hellip;]<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Kommende%20Katastrophen https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2005%2F02%2Fkommende-katastrophen%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 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Februar 2024","format":false,"excerpt":"Welttag des Radios +++ Teekistenbass und ein Radiorekorder namens Atlas +++ Bundeskulturministerium legt Honoraruntergrenzen fest +++ Neue Streichquartette in der H\u00f6rBar","rel":"","context":"In &quot;Angriff auf \u2026&quot;","block_context":{"text":"Angriff auf \u2026","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/"},"img":{"alt_text":"Spa\u00df mit Fotos. Foto: Hufner","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/02\/02_13_vor6_03.jpg?fit=866%2C960&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/02\/02_13_vor6_03.jpg?fit=866%2C960&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/02\/02_13_vor6_03.jpg?fit=866%2C960&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/02\/02_13_vor6_03.jpg?fit=866%2C960&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1141,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2005\/04\/anton-webern-rauchen-kann-toedlich-sein-konzert-fuer-neun-instrumente-op-24\/","url_meta":{"origin":1060,"position":1},"title":"Anton Webern: Rauchen kann t\u00f6dlich sein &#8211; \u201eKonzert f\u00fcr neun Instrumente op. 24\u201c","author":"huflaikhan","date":"13. April 2005","format":false,"excerpt":"Auch hier ein Todestag \u2014 allerdings einer, der noch kommt \u0096, vor 60 Jahren, am 15. September, wurde Anton Webern erschossen. Ein dummes Ungl\u00fcck nach dem Ende des zweiten Weltkrieges. Webern war nach Mittersill gereist. Dort hielt es sich bei seinem Schwiegersohn auf. Der war offenbar ganz gut in Schwarzmarktgesch\u00e4fte\u2026","rel":"","context":"In &quot;Enzyklop\u00e4die der Kritischen Masse&quot;","block_context":{"text":"Enzyklop\u00e4die der Kritischen Masse","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/enzyklopaedie-der-kritischen-masse\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":856,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/10\/schlechte-zeiten-schlechte-zeiten\/","url_meta":{"origin":1060,"position":2},"title":"Schlechte Zeiten \u0096 Schlechte Zeiten","author":"huflaikhan","date":"26. Oktober 2004","format":false,"excerpt":"Manchmal ist man abends hundem\u00fcde und zugleich aufgekratzt. Fernsehen ist dann gegebenenfalls das Medikament der Wahl, wenn man nicht laufend gegen einen Wand rennen mag, um ohnm\u00e4chtig zu werden. So ein Schlaf ist dann auch das Wahre nicht. Da es im Fernsehen jedoch nichts Neues nicht gibt, jedes Bild schon\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1061,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2005\/02\/alban-berg-sonate-fuer-klavier-op-1\/","url_meta":{"origin":1060,"position":3},"title":"Alban Berg: Sonate f\u00fcr Klavier op. 1","author":"huflaikhan","date":"15. Februar 2005","format":false,"excerpt":"Gerade, Alban Berg, Sonate f\u00fcr Klavier op.1. Ungeheuerlich. Es interessiert ja keinen, aber trotzdem sei es gesagt. Ich war damals ein kleiner Hupfer, vielleicht 17 oder 18 Jahre alt. Die Musikbibliothek der Stadt Wolfsburg suchte ich auf, nachzuschauen, was die haben von Alban Berg und anderen. Das war eine wirklich\u2026","rel":"","context":"In &quot;Angriff auf \u2026&quot;","block_context":{"text":"Angriff auf \u2026","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/"},"img":{"alt_text":"Alban Berg: Sonate f\u00fcr Klavier (Vordersatz","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2005\/02\/20050215-berg.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":253,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2003\/09\/adornos-klaviermusik\/","url_meta":{"origin":1060,"position":4},"title":"Adornos Klaviermusik","author":"huflaikhan","date":"17. September 2003","format":false,"excerpt":"Da ist dieses \u0084Adagietto \u0096 Hommage an Bizet\u0093 (1927) und die Kindersuite P.K.B. Wer bisher Adorno nur zutraute mit schmerzhaften Dissonanzen zu komponieren, wird im Adagietto eines ganz anderen belehrt. Diese musikalische Wendung \u0096 auch nach Klang und Melodik eher in Richtung Ravel und Bizet gehend \u0096 zeigt auch an,\u2026","rel":"","context":"In &quot;Rezension&quot;","block_context":{"text":"Rezension","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/texte\/rezension\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1162,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2005\/04\/kommentarfunktion-aus\/","url_meta":{"origin":1060,"position":5},"title":"Kommentarfunktion aus","author":"huflaikhan","date":"28. April 2005","format":false,"excerpt":"Aus einem mir selbst nicht ganz klaren Grund. Kommentarfunktion abgestellt bis auf weiteres. Ich habe festgestellt, dass ich h\u00e4ufig nur danach geschaut habe, ob jemand was kommentierte und nahm unkommentierte Artikel \u00fcbellaunig zur Kenntnis. Das hat ja keinen Sinn. 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Ach, Semmelchen, ich wusste, dass du es\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/1060","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/comments?post=1060"}],"version-history":[{"count":0,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/1060\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media?parent=1060"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/categories?post=1060"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/tags?post=1060"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}