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    Wolfgang Amadeus Mozart
    Wolfgang Amadeus Mozart
    Wolfgang Amadeus Mozart
    Ebook44 pages43 minutes

    Wolfgang Amadeus Mozart

    By Karl Barth, John Updike and Paul Louis Metzger

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    No description available.
    LanguageEnglish
    PublisherWipf and Stock
    Release dateDec 11, 2003
    ISBN9781498270854
    Wolfgang Amadeus Mozart
    Author

    Karl Barth

    Karl Barth (1886-1968) was a pastor, an outspoken critic of the rise of the Nazi Party, and Professor of Theology at the University of Basel, Switzerland.

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    • 4/5
      A small interesting book - how Barth so loved and appreciated Mozart - starting his day listening to his music.

    Book preview

    Wolfgang Amadeus Mozart - Karl Barth

    cover.png

    Wolfgang Amadeus Mozart

    By

    KARL BARTH

    Foreword by

    John Updike

    Translated by

    Clarence K. Pott

    New Foreword by

    Paul Louis Metzger

    Translated from Wolfgang Amadeus Mozart, 1756/1956 © 1956 by Theologischer Verlag Zürich

    Wipf and Stock Publishers

    199 West 8th Avenue, Suite 3

    Eugene, Oregon 97401

    Wolfgang Amadeus Mozart

    By Barth, Karl

    Copyright©1986 Theologischer Verlag Zurich

    ISBN: 1-59244-436-9

    EISBN: 978-1-4982-7085-4

    Publication date 12/11/2003

    Previously published by Wm. B. Eerdmans Publishing Co., 1986

    English translation copyright ©1986, William B. Eerdmans Publishing Co.

    Foreword to the Wipf and Stock Edition

    Barth was sometimes asked if his theology demanded a different master in music than Mozart. Barth’s response noted in this volume was emphatically, and characteristically to some, negative—Nein. Regardless of what one makes of Mozart, or of Barth’s view of him (his writer friend, Zuckmayer, found him rather one-sided at this point, and Zuckmayer was not alone), the reader gains a greater understanding of Barth’s theology through attention to his reflections on Mozart. For the evangelical Christian, Barth’s fascination with the Catholic and Freemason Mozart was by no means an anomaly that strikes a dissonant chord in Barth’s theological symphony. Rather, it resonates with the melodic line. Like a magic flute, Barth’s tribute to Mozart serves as a key to unlocking the door to the mysteries of Barth’s view of God’s ways with the world. So, what did Barth hear in Mozart’s music, and how did it resonate with his view of the Creator’s dealings with the creation?

    The Protestant Barth—one of the twentieth century’s most prolific theologians—preferred Mozart to Bach with his Christian messages and Beethoven with his personal confessions. For Mozart "does not reveal in his music any doctrine and certainly not himself … Mozart does not wish to say anything: he just sings and sounds." Like Barth, his Mozart prized objectivity. Such objectivity freed Mozart to resound the secular praises of creation to the Creator.

    Freedom within appropriate limits marked Mozart’s music, and Barth’s theology of the Word, too. Mozart’s operatic as well as church music served as the free counterpart to the particular word given Mozart. Barth’s dialectical theology of the Word serves as a free counterpart to Mozart’s music and as an appropriate response to revelation. For just as Mozart’s music leaves his listener free, so, too, Barth’s words are intended to free the reader to be truly human in view of the God who comes to us in His Word to free us from having to take matters into our own hands. Whereas Mozart’s music celebrates the wholly other and free God through attention to the creation in its freedom and otherness, Barth’s well-developed dialectical theology of the wholly other God revealed in His incarnate Word celebrates this God’s liberation of humanity and the whole of creation to a life of true creatureliness.

    Mozart’s objectivity and freedom not only allowed Mozart to hear creation’s secular praises, but they also allowed him to be playful in his musical mastery with its iron zeal, and so be truly human. For Barth, God’s sovereign togetherness with humanity in Christ frees us to be human—nothing more and certainly nothing less—and so provides the space and time for us to be free to work and play and to

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