"Absolute Purity Projected into Sound": Goeyvaerts, Heidegger and Early Serialism

Author(s): Jan Christiaens
Source: Perspectives of New Music, Vol. 41, No. 1 (Winter, 2003), pp. 168-178
Published by: Perspectives of New Music
Stable URL: http://www.jstor.org/stable/25164510
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Purity Projected "Absolute Into Sound": Goeyvaerts. Introduction the Darmstadt summer courses of 1951. who had taken the place of Schoenberg as the leader of the composition seminar. I.92. Karel Goeyvaerts and Karlheinz Stockhausen played the second part of Goeyvaerts's At Nr.252 on Thu. Adorno. Immediately after the performance. 05 Mar 2015 11:20:29 UTC All use subject to JSTOR Terms and Conditions . Confronted Goeyvaerts's philosophical This content downloaded from 193.195. the sonata for two pianos. and Early Serialism Heidegger Jan Christiaens Research Fellow of the Fund Flanders for Scientific Research? (Belgium) 1. discussed the disproportion between the scoring and the economical use of the musical material: "Why did you compose this for two pianos?" Goeyvaerts's legitimation of his choice made clear that a composition seminar anno 1951 could not abstain from aesthetic with and and issues.

Christoph von Blumr?der states that Herman Sabbe's mention of "an intensive occupation of both composers [Stockhausen and Goeyvaerts] with Heidegger" must be strongly quali fied. In his preparations for the course on music history he was teaching from September 1950 onwards. that there exists a "principal incompatibility" between Heidegger's aesthetics and the new music.195. Above all.5 At the risk of being myself a superficial I will try to shed some light on this aspect by inves reader ofHeidegger. which contains. In a letter of August 10th. the name of Martin ismentioned several times. just afterGoeyvaerts had completed his three years of study at the Paris much It is to be expected that the and Milhaud. and the philosophy of Being of Martin Heidegger. certain key concepts of Heidegger's how whether and aesthetics tigating can be philosophically corroborating forGoeyvaerts's aesthetic views. 05 Mar 2015 11:20:29 UTC All use subject to JSTOR Terms and Conditions . wasn't with familiar Goeyvaerts apparently Heidegger's philosophy in In alone his let the aesthetics. ontological correspondence between Goeyvaerts and Stockhausen. I must for the sake of clarity point to the following: Goeyvaerts's aesthetics are delivered to us not in the form of an elaborated theory.4 On the other hand. originally given in 1936. On the one hand. as does Eduardo Marx in his book Heidegger und der Ort derMusik. 1951. but as a relatively small collection of stray notes which aren't supported by a strong philosophical argument.6 Before submitting these to aHeideggerian interpretation. among others. which started after the summer courses and is an important source of knowledge concerning the aes thetic and technical aspects of early serialism.e.252 on Thu. Pierre Boulez and Jean Barraqu? can be found in these notes in their purest form.1 general. the notes are of importance as far as they reveal the deeper-lying aesthetic motives for the development of total This content downloaded from 193. it seems tome that it is a risky step to conclude..92. some participants of the seminar out the strong similarity between Goeyvaerts's aesthetic views pointed At that time. The notes were probably written down from September or October 1950 onwards. and that all parallels are due to a "superficial recep tion" ofHeidegger's philosophy. among especially exchange teachings others.Absolute PurityProjected intoSound 169 Stockhausen's analysis of the sonata.2 Heidegger Stockhausen makes mention ofHeidegger's Holzwege. Never theless these notes have to be taken seriously for their historical value as as for their contents for the following reasons. it is not clear whether Goeyvaerts effec tively read it. Conservatoire with Messiaen ideas Goeyvaerts developed in Paris under the influence ofMilhaud's and and in the Messiaen's of ideas with.3 this lecture. i. the lecture "Der Ursprung des Kunstwerkes" ("The Origin of theWork of Art"). was widely known Although among philosophers and artists. Goeyvaerts wrote down some notes con taining his aesthetic views on music of that time. a volume of essays published in 1950.

252 on Thu. Heidegger's the work of art is considered as the place where "die Wahrheit des Seienden [sich] insWerk setzt" (UdK 30). and for materialising his insights into a work of art.170 Perspectives of New Music serialism. At the top of this scheme Goeyvaerts places: "absolute 'Being': immobile.7 2." (UdK 33) In thatway thework of art is a dis sense of "Unverbor in tinctive way which the truth. in their reduction to the essential. to "St?ndigkeit": ". has absolute existence forGoeyvaerts?the composition is seen as a phenomenological in time and appearance space of this absolute Being.92. which bears the traces of the per sonality of the composer as well as of the socio-cultural context of the aspect Goeyvaerts calls the "spirit of the age. Heidegger/Goeyvaerts: Aspects of Early Philosophical Serialism The core of Goeyvaerts's aesthetics is formed by the thesis that music is the objectification in sound matter of a spiritual or mental issue. was im Werk am Werk ist: die Er?ffnung des Seienden in seinem Sein: das Geschehnis derWahrheit. In this respect. how ever. 1952 he writes that it mental is the task of music "to present 'Being' in time and in sound matter. in which Goeyvaerts makes a hierarchical distinction between three fundamental levels of a composi tion. and the view of thework of art as a phenomenological appearance of Being." This view is on a par with another note. In this sense.." This can be interpreted as the spiritual and background of a composition. 05 Mar 2015 11:20:29 UTC All use subject to JSTOR Terms and Conditions . How ever. the content of the work of art (he uses examples from painting) is high lighted in its ontological quality by the simple fact that in thework of art this content is brought to steadfastness." At the second level is the general structure of the composi tion. these notes form the best imaginable introduction to Goeyvaerts's serialworks." In a note of October 23rd." Accord composition?an ing to Goeyvaerts. the artist can claim merit to himself for penetrating this spirit of the age more deeply than the rest of humanity. On the contrary. absolute Being. in theHeideggerian genheit des Seins"?"unconcealment" of Being?becomes operative. only the upper level. is strongly related to In his lecture "Der Ursprung des Kunstwerkes. Elsewhere in his notes.8 This distinction between various levels.195.9 According to Heidegger. Goeyvaerts ismuch more explicit concerning the meaning of the concept "mental issue. their fragmentary character doesn't detract from their value as a key to the deeper sense of Goeyvaerts's serial procedures. This content downloaded from 193. and at the lowest level he places the concrete composition as it exists in time and space.. the notes do not make clear in a univocal way what ismeant by "spiritual" or "mental issue." aesthetics.

Absolute PurityProjected intoSound 171 Goeyvaerts's aesthetics are a radicalisation of this aspect insofar as not the content of the work of art (in this case sound matter) in its ontological quality but this ontological quality itself.11 As it appears from Goeyvaerts's notes as well as the correspondence with Stockhausen and others." (UdK 54) This bipolar aesthetic model offers an apt philosophical framework to grasp the full bearing of Goeyvaerts's stringent aesthetical principles. bekommen alle Dinge ihreWeile und Eile. in dem die Unverborgenheit des Seienden im Ganzen. the Erde. In a letter to his cousin Mia Greeve.252 on Thu. comes to its true being and meaning.e. This position is not. is described as "das wohin das Werk sich zur?ckstellt und was es in diesem Sich-Zur?ckstellen hervorkommen l??t" (UdK 43). Heidegger writes about the first aspect. is proclaimed as the proper "content" of the work of art. This process of of Being in the work of art is described by Heidegger "unconcealment" as the "struggle" (Streit) between two fundamental aspects of each work of art: the struggle between Welt (World) and Erde (Earth). It is on the contrary the twofold activity immanently atwork in the work of artwhich generates meaning: as Welt it opens a spiritual space in which the material. comes to speak when bestowed upon a meaning or a sense by human kind. Goeyvaerts wrote: "I don't tell them everything This content downloaded from 193. as itmight seem at first sight. ihre Ferne und N?he. As Heidegger writes: "Aufstellend eineWelt und herstellend die Erde ist das Werk die Bestreitung jenes Streites. erstrittenwird. the work of art is not mute matter which only According to Heidegger. dieWahrheit. In this very relation the ontological quality of the work of art is brought to light. i." (UdK 41) The Welt-concept. itsmaterial dimension. As Welt the work of artwants to break out of itsmaterial limits. 1. the Welt-dimension: "Indem eineWelt sich ?ffnet. but in the unique relation between the spiritual and thematerial dimension. it holds its spiritual dimension contained within itself. early serialism was as much concerned with spir itual and philosophical as with technical issues. takes a strong position by localizing the ontological quality of Heidegger the work of art not in its spiritual dimension. themental or spiritual openness created by the work of art inwhich of Being can take place. points in this context to the spiritual dimension of thework of art.92. that is absolute Being itself.10 This open the process of "unconcealment" der in a certain sense to be occupied by Offene has space ("das Welt") the work of art in its Erde-dimension. The Erde. which in Sein und Zeit designates the spiritual design of one's living climate and living space. which Heidegger also calls Werkstoff or the material out of which the work of art ismade. 05 Mar 2015 11:20:29 UTC All use subject to JSTOR Terms and Conditions .. as Erde. Goeyvaerts describes how at Darmstadt 1951 all his fellow composers wanted to know the technical details of the new method he had applied in his Nr. ihreWeite und Enge.195. a reassertion of the old mind-matter dualism.

would lead to an academism. From 1950 onwards. Although Heidegger Heidegger's in a certain sense a revelation of Being. as convincingly shown by the analyses of Herman Sabbe and Mark Delaere.14 This purity became most evident from Goeyvaerts's striving for an absolute control of all properties of the sounds he used. immobility. he still recognizes that the struc The tural purity of artworks. Goeyvaerts succeeded in shaping his sound material perfectly according to the demands of his spiritual "program" (forgive the word). down to the smallest details. or. as it appears repeatedly from the correspondence with Stockhausen. [Heidegger refers to the painting A Peasant's Shoes of Van Gogh].15 It is however especially by the application of the second property of abso lute Being.92. the Heideggerian open space (das Offene der Welt) coincides with absolute Being. sublimating it in a static situation of absolute equilibrium.16 causal relation which Goeyvaerts installs between the structural purity and the ontological qualities of a composition can also be found in states that every work of art is lecture.252 on Thu.172 Perspectives of New Music about it.e. i. structural purity was one of the main solici tudes of Goeyvaerts. the problem this aspect poses to the composer is not to be disre garded: how to shape the immobility of Being in a artformwhich is pre eminently spatio-temporal? Goeyvaerts tackled this problem by banishing the traditional concept of dynamic development out of his music. Goeyvaerts's shaping of his musical material was to a large extent dictated by the requirements of a perfect congruence between the material and the spiritual dimension. their limitation to the essential is of the hallmark of the truth (here to be understood as "unconcealment" einfacher das He writes: und wesentlicher "Je Schuhzeug Being). their simplicity. Consequently.195.13 There are two main properties of absolute Being by which Goeyvaerts wanted his sound matter to be determined: (structural) purity and immo bility. In this aspect in particular. It goes without saying that the metaphysical task Goeyvaerts sets to his music makes high demands on the musical material and its shaping. Yet. Goeyvaerts arrived at the cross-structure as the ideal incarnation of absolute balance. to absolute Being.. urn so This content downloaded from 193. that Goeyvaerts's serialworks reveal themselves as the most strict and uncompromising form of serialism. It has become clear that music can only succeed in fulfilling this task if the shaping of sound matter is per fectly attuned to the spiritual dimension."12 In Goeyvaerts's aesthetics. if the Erde-dimcnsion cover each other seamlessly. because the application of my method by composers who do not possess the spiritual background which gave rise to it. to use Heidegger's and the W?/?-dimension words. by so doing. 05 Mar 2015 11:20:29 UTC All use subject to JSTOR Terms and Conditions . As a result of this rigid compositorial ethic. His serial technique aims at neutralising the tem poral dimension as completely as possible and.

that a composition. and by so doing lends steadfastness to it. as an imperfect and (hence) temporary phase in the development of absolute spirit? In their answers to this question. not without reason.Absolute PurityProjected intoSound 173 unmittelbarer und einnehmender wird mit ihnen alles Seiende seiender. and that describes the relation between the material and the spiritual Heidegger dimension. Dergestalt ist das sichverbergende Sein gelichtet. the traditional aesthetic category of beauty is given a new definition. as a "struggle.According toHeidegger. 05 Mar 2015 11:20:29 UTC All use subject to JSTOR Terms and Conditions ." (UdK 55) Taking into account that this unconcealment of Being requires such a precarious handling and shaping of the musical material. lation. materialises it. Heidegger uses the term "Gestalt" to indicate theway in which truth becomes tangible in a specificmaterial and historical constel aesthetics this aspect has no further implications. the spiritual openness of thework of art can only exist by the grace of its material.252 on Thu." why ever do Heidegger and Goeyvaerts consider thework of art as a privileged locus for this pro wie Wahrheit cess of truth." (UdK 55) In this con text. he also has to translate his insights in a musical language which is in keeping with its inherent historical evolution (cf. The composer not only has to penetrate the spirit of the age. Conclusion starting point of this article was an interesting disagreement in the literature about the putative between secondary (in)compatibility in Der aesthetics des and Kunstwerkes Ursprung Goeyvaerts's Heidegger's The This content downloaded from 193.195. as in Hegel's philosophy. Adorno's concept of "musical material"). als Unverborgenheit west. always bears the traces of its era. and not. a work of art can only truly be called beautiful According to Heidegger."17Yet this strain on objectifica tion implies that the work of art. It belongs to the essence of Being to install itself in a particular and historically determined work of art? calls this der Zug zum Werk. he still states that it is of primordial importance that these mental or spiritual issues become materialised in a concrete sound struc ture: "We speak of music only when the spiritual issues step out of the individual and become a sounding reality. We can find a very similar view in Heidegger Goeyvaerts's aesthetics.18 3.92. which so to speak keeps this openness open. In Heidegger's whereas inGoeyvaerts's notes it functions as a criterion for a judgment of value. Although he supports the primacy of the spiritual dimension. Heidegger seem to attach and Goeyvaerts importance to similar aspects of thework of art. when the treatment of itsmatter (thematerial dimension) fits the uncon cealment of Being as seamlessly as possible: "Sch?nheit ist eine Weise.

this attack the Heidegger unjustified he points to the unique position of art as a privileged way inwhich truth (unconcealment of Being) becomes historical and tangible. In his lecture mere Heidegger denounces any approach to the work of art as a because according to thing or object (Vorhandenes/Dingliches). The enemy is fought with its own weapons. but other approaches such as biologistic or energetic theories also cut the romantic thread with the absolute. an on essence is real of art.A second point concerns the relation between the spiri tual and the material dimension in art. on the contrary. reverts to a pre-eminently romantic paradigm. Let me review the points inwhich take up strikingly similar attitudes towards the Goeyvaerts and Heidegger work of art and music. whereas in Goeyvaerts's notes the focus is directed immediately and directly to abso lute Being itself.g. it is true. Instead.195. Something similar can be said about Goeyvaerts's position within the evolution of musical aesthetics. which approached music as a factual. they con ceive of as intricably bound to the material dimension of art. it is obvious that both views recognize the primacy of the spiritual. Finally. 05 Mar 2015 11:20:29 UTC All use subject to JSTOR Terms and Conditions . Heidegger's to capture absolute Being in sound structures which are tries Goeyvaerts immobile and atemporal. Secondly.92. as etwas Vorhandenes.174 Perspectives serial music or new music of New Music in general. But there are important differences too.which is implicitly a critique of the romantic expressionistic heritage. Firstly. In his serialworks Goeyvaerts took up this thread again by coupling his search for an absolute structural purity with an absolute spiritual purity.. forHeidegger. which is the ulti mate foundation of what Herman Sabbe has called "Goeyvaerts's abso lutism of purity. musical aesthetics in the first half of the twentieth century was dominated by positivistic tendencies." It is a remarkable peculiarity of music history to see how Goeyvaerts's ideology of purity. Formalism may have been one of themost influential of these tendencies. even ontological level. Generally speaking. First. with absolute Being. as he made clear in Sein und Zeit.252 on Thu. I want to point out a remarkable similarity as far as the position ofHeidegger and Goeyvaerts in a broader aesthetic context is concerned.which they are not in Goeyvaerts's notes. namely the view of music as a privileged revelation of the Absolute. temporality is a fundamental feature of absolute Being. A Peasant's Shoes of Van Gogh).which. But in view it is the ontological quality of the particular work of art Heidegger's is aimed at (e. I think Heidegger's concept of an framework within which between and Erde forms Welt apt "struggle" which to interpret the implications of Goeyvaerts's aesthetics for the material dimension of his music. This content downloaded from 193. analysable object. themore so as it transcends any interpretation in terms of a mind-matter dualism. the utterances about the historical component of the work of art are a mere statement in theory.

195.252 on Thu. and that the differences are not to be lecture offers no specific theory of musical overlooked.Absolute PurityProjected intoSound 175 if there was an intensive occupation of Goeyvaerts Heidegger's philosophy?the similarity between to some general views is and limited aesthetic Heidegger's Goeyvaerts's aesthetic attitudes and categories. I've tried not to let it saymore than it says. This means that the vagueness of the indicated similarities is a conscious option on my part. Since Heidegger's It has become clear that?even with structures.92. This content downloaded from 193. but only impulses to a general aesthetic reflection. 05 Mar 2015 11:20:29 UTC All use subject to JSTOR Terms and Conditions .

237) (W?rzburg: K?nigshausen & Neumann. Ursprung des Kunstwerkes" Der Martin des Kunstwerkes separately: Heidegger.176 PerspectivesofNew Music Notes 1. no. ebensowenig wie die Erw?hnung der als Dokument des Neubeginns ?berbe Holzwege Martin Heideggers wertet werden darf. . 5).' Einige der deutschen Teilnehmer zu schienen ahnen. I. "Karlheinz Stockhausen: . 13. . Haynes (Cambridge: Cambridge University Press. . 4. to Press the first translation Cambridge University English published bring together the texts originally published under the titleHolzwege: Martin Heidegger. Eduardo Marx. (Stuttgart: Franz Grundlegung der Musik Karlheinz Steiner. "Karlheinz Stockhausen. This content downloaded from 193.195. The "Der is also edited lecture 1950). 1960) (Stuttgart: Philipp Reclam.' vom 'Sein' das 'redet. by J. wie . bedeutet das keine Abwertung. 1993). n. 2002). 39.". Von Blumr?der. .92. Ursprung In 2002 (henceforth UdK). 1981). Klostermann." 70. Sabbe. 19 (M?nchen: Edition Text + Kritik. so Glasperlenspiel nun unter die 'Schlu?steine' 4. Cf. 82. 23: "Wenn Stockhausen in diesen Zusammenhang Hesses rechnet. . no. Off the Beaten Track. Die Stockhausens. Stockhausens daraufhin gefa?ter Vorsatz einer gr?ndlichen Lekt?re der Schriften Heideggers blieb allerdings unausgef?hrt. Sabbe. 4 (1952): 263. 05 Mar 2015 11:20:29 UTC All use subject to JSTOR Terms and Conditions ." W. trans. University Archives of the Katholieke Universiteit Leuven Artistic Estate of Karel Goeyvaerts. 3." 5. . Zusammenhang "Musikalische Alchimie. den Friedl?nder. Philosophie. Holzwege. die Zeit verging . "War es Zufall. 2. II.Young and K. C. Martin Heidegger. Heidegger und der Ort derMusik (Epistemata: Reihe 1998). 6. Musik-Konzepte The complete letters of Stockhausen to Goeyvaerts are being pre served in the New Music Research Center Karel Goeyvaerts of the Katholieke Universiteit Leuven (Belgium) (University Archives. H. Bd. Artistic Estate of Karel Goeyvaerts. da? pl?tzlich der Schatten Heideggers auftauchte? von Der wu?te sicher nichts junge Belgier [Goeyvaerts] und vom Begriff der Wahrheit als 'Offen Fundamental-Ontologie heit. (Frankfurt am Main: V. und in den folgenden Briefen an Goeyvaerts ist von Heidegger nicht mehr die Rede." Frankfurter Hefte 7. (Belgium). no.252 on Thu.

Kunst und Technik: Ged?chtnisschrift zum 100. seeMark Delaere. 205-15. 1953): "Als Prinzip [of electronic music] scheint mir aber nur das g?ltig zu sein. 05 Mar 2015 11:20:29 UTC All use subject to JSTOR Terms and Conditions . 8. Cf. Stockhausen's letter of January 25. . Geburtstag vonMartin Heidegger (Frankfurt am Main. cf. "Karlheinz 58: "F?r Goeyvaerts gilt das Primat des Gedachten.252 on Thu. same train of thought can be seen in a letter of Goeyvaerts to Stockhausen (dated September 9. bis die M?glichkeiten Realisierung turen dieser gerecht geworden sind." der Appara 14. As an example of this." der Struktur.'" Ursprung Wilhelm von Herrmann. 5). 1954 to Goeyvaerts (Artistic Estate of Karel Goeyvaerts. works). Musik 1950-1956" 9.Das Prinzip ist bewe gungslosigkeit des Seins ?bereinstimmt. 5 13. no. Sabbe. Cf. II. 10." Die Musikforschung 30 (1977): 11." (Artistic Estate of Karel Goeyvaerts von Karel "Das Musikdenken II. II. gungslos wie der absolute Geist. Cf. Gabriel "Zu Heideggers Liiceanu. "Anst??e Heideggers st?ndnis in der Musikwissenschaft. "Karlheinz This content downloaded from 193. Stockhausen. was mit der Bewe . 12. see also H. no. die die Volkommenheit aber kann warten. no. die in die Welt zu stellen ist.: V. Artistic Estate of Karel Goeyvaerts. . Flechsig has already pointed to the value of this aspect of aesthetics for a deeper understanding of musical struc Heidegger's zum Selbstver tures. complete list of autobiography. also Sabbe. 1 (August 1973): 104.92. Hartmut Flechsig. For ogie48(1994). able attitude towards electronic music.195. 'Welt'-Begriff in 'Der des in Biemel and Friedrich Walter Kunstwerkes. Hartmut 29. eds.Absolute PurityProjected intoSound 177 a thorough introduction to Goeyvaerts's oeuvre (including a an of his and excerpt analyses. no." thematic issue of the Revue Belge deMusicol 7. 1989). 5). "The Artistic Legacy of Karel Goeyvaerts: A Collection of Essays. The Goeyvaerts in Bezug auf das Schaffen von Karlheinz Stockhausen: Ein Beitrag zur Geschichte der fr?hseriellen und elektronischen in Interface 2. Klostermann. (positive) indifference of the material dimension the artwork entails that music is in the same measure as the other artforms capable of revealing the truth. It is a remarkable fact thatHeidegger does not make any distinction Kant in their and Hegel idealistic aesthetics) between the dif (as do as as as revelation of "Truth" is artforms far their character ferent This of the truth-process towards concerned.Herman Sabbe mentions Goeyvaerts's remark See Sabbe.

252 on Thu. 13 36. 15. Goeyvaerts and Adorno had totally different opinions.. no. Goeyvaerts. see Mark Delaere. For an account of the influence of Goeyvaerts's teacher Messiaen on the former's development of serialism. 2 (1951). 1976). Die Anf?nge der seriellenMusik (Kontexte: Beitr?ge zur zeitgen?ssischenMusik 1) (Hofheim: Wolke. "Karlheinz Stockhausen. Adorno adopted a more moderate critical approach. 16. 18. Orm 17. Theodor W. "Olivier Messiaen's of Post-War Serial Analysis Seminar and the Development Music. far as the concrete filling in of the notion "musical material" is con cerned. Artistic Estate of Karel 4. Suhrkamp." 58. Text to be found in Goeyvaerts's I. ed. 43-87. University." 7-16. serial idem. Later on." Music Analysis 21. the a as of music Raum tranzendente Wahrheit.195. This content downloaded from 193. pures hypostasis Zeitgeflecht. ("Tendenz Materials"). 1 (March 2002): 35-51.92. no." in Stimmigkeit: Goeyvaerts Weg Finnendahl. Adorno. (Frankfurt: Philosophie der neuen Musik as 38-41 des However. M.178 PerspectivesofNew Music Stockhausen. notebooks. as for instance in "Vers une musique informelle" (1961). Sabbe. Het muzikale isme als techniek en denkmethode Ghent (Doctoral dissertation. 05 Mar 2015 11:20:29 UTC All use subject to JSTOR Terms and Conditions . as appears from the latter's harsh critique of serial music in "Vom Altern der neuen Musik" (1954). 1999). 1977). "Auf der Suche nach serieller zur Komposition Nr. Delaere. where the author uses the following epitheta to describe Goeyvaerts's serial music: Reinheits-Absolutismus.