誠者，天之道也；誠之者，人之道也。 ( Chéng zhě, tiān zhī dào yě; chéngzhī zhě, rén zhī dào yě. ) ---- 子思 《禮記·中庸》22:7 _____ Der bestirnte Himmel über mir, und das moralische Gesetz in mir. ---- Immanuel Kant (KpV: AA 05: 161.33–36) ________________________ ἃ γὰρ δεῖ μαθόντας ποιεῖν, ταῦτα ποιοῦντες μανθάνομεν (What we have to learn to do we learn by doing.) ---- Ἀριστοτέλης (Nic. Eth. 1103a33)
신조형주의(neo-plasticism)를 음악에 적용한 최초의 시도.
Na zijn studie in Berlijn componeerde Jakob van Domselaer in de jaren 20 zeer extreme muziek. Schönberg was nog aan het zoeken naar zijn twaalftoonssysteem en Stravinsky was nog niet tot bloei gekomen toen Jakob van Domselaer in 1913 reeds zijn stijloefeningen componeerde: abstracte klankclusters waar de tijd gestold lijkt. Hij noemde het dan ook klankstollingen. Het theoretisch kader voor zijn klankexperimenten ontstond vanuit de contacten met Piet Mondriaan en de Stijlbeweging. Het was Van Domselaer die in 1914 de muziek van Busoni en Schönberg voor het eerst in Nederland uitvoerde. De Eerste Symphonie (1921) is volkomen uniek in zijn soort en is ondanks verwantschap met Mahler en Sjostakovitsj toch geheel eigen in stijl en vorm. De Pianoconcerten no. 1 en no. 2 (1924 en 1926) zijn minstens zo expressief. Ook klinkt er veel meer geschiedenis in door dan in de Symphonie. Soms klinken kathedralen van welluidendheid. Tevens zijn er laatromantische kenmerken als gebroken akkoorden, warm pedaal, romantische crescendos: je hoort bovenal de bewonderaar van de negentiende-eeuwse pianoschool in de traditie van Liszt en Busoni.
tr. by google:
After his studies in Berlin, Jakob van Domselaer composed very extreme music in the 1920s. Schoenberg was still looking for his twelve-tone system and Stravinsky had not yet blossomed when Jakob van Domselaer already composed his style exercises in 1913: abstract sound clusters where time seems to have solidified. That's why he called it sound clotting. The theoretical framework for his sound experiments arose from contacts with Piet Mondriaan and the De Stijl movement. It was Van Domselaer who first performed the music of Busoni and Schönberg in the Netherlands in 1914. The First Symphony (1921) is completely unique in its kind and, despite its affinity with Mahler and Shostakovich, is still completely unique in style and form. The Piano Concertos no. 1 and no. 2 (1924 and 1926) are at least as expressive. There is also much more history in it than in the Symphony. Sometimes cathedrals resound with melodiousness. There are also late romantic features such as broken chords, warm pedal, romantic crescendos: above all you hear the admirer of the nineteenth-century piano school in the tradition of Liszt and Busoni.
주역 안 봐도 된다고 하셨으니 신지학도 안 봐도 되나? 😥
[1]-[9] Jakob van Domselaer (1913–1917) Proeven van Stijlkunst I - IX (Experiments in Artistic Style)
[10]-[13] Jakob van Domselaer (1924) Piano Sonata No. 9
Yesterday I got the first clear secret for the rest of my life. I had completed my map and now caught the beacon. It is doubtlessly in an analogy to my father's path, which I had never wished for, saving just friendly understanding. I needed eyes and ears and still will. But in any case, I will never be sympathetic to myself but cruel.