Religion - Musik - Alltag: Mozarts eigenwilliges Verhältnis zu Religion und Kirche
A look at the extensive literature about Wolfgang Amadeus Mozart reveals that Mozart's rather highly individual attitude to religion and Roman Catholic Church has only rarely served as a starting point for comparative studies. The motivation of this article lies in Mozart's biographical ro...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | German |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Echter
1995
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| In: |
Zeitschrift für katholische Theologie
Year: 1995, Volume: 117, Issue: 1, Pages: 68-79 |
| Standardized Subjects / Keyword chains: | B
Mozart, Wolfgang Amadeus 1756-1791
/ Religiosity
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| Online Access: |
Volltext (lizenzpflichtig) |
| Parallel Edition: | Non-electronic
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| 520 | |a A look at the extensive literature about Wolfgang Amadeus Mozart reveals that Mozart's rather highly individual attitude to religion and Roman Catholic Church has only rarely served as a starting point for comparative studies. The motivation of this article lies in Mozart's biographical rooting in the Catholic faith, which can clearly be proved by his correspondence with his father. Throughout his life Mozart was a critical, though rather traditional Catholic figure. His negative attitude towards the Enlightenment culminated in a very emotional argument with his employer, Hieronymus Count Colloredo, the archiepiscopal prince of Salzburg. As a consequence of this he turned his back on Salzburg and his father, and moved to Vienna. – In a further step reflections over Rezeptionsästhetik deal with intertextual linkings of Mozart in philosophical and theological literature. There Søren Kierkegaard's 'Enten-Eller', Karl Barth's 'Dankbrief an Mozart', and a diary note of Karl Rahner – here published for the first time – are analyzed with regard to the combination of everyday life's trivialities and the mysteries of religion and music. – A final resume provides an outlook on the interrelation of aesthetic achievments with theological and philosophical aspects, the result of which is that Mozart's music is a paradigm of human existence in general. | ||
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