Cesta s hudbou: od Palacha po Obamu - a po Štefánika ; výber textov z rokov 1969 - 2009
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Slovak |
| Veröffentlicht: |
Bratislava
Hudobné Centrum
2012
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 566 S. Ill. |
| ISBN: | 9788089427130 |
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Datensatz im Suchindex
| _version_ | 1804150241984774144 |
|---|---|
| adam_text | Obsah
13
Úvodom
19
Opus
69 (1969)
Prelúdium???
Intermezzo??
Kóda?
30
Miera ľudskosti
(1969)
(Diskusný príspevok na mimoriadnom zjazde
Zväzu československých skladateľov)
35
Daniel
Fischer
(1979)
(Pri príležitosti neoficiálnej výstavy)
43
Čo to vlastne bolo?
(1983)
(Miro Bázlik interpretuje
Beethovena)
44
Poznámky ku skladbe Vladimíra Godára
Dariačangin sad
-
Mýtus
(1988)
53
„Nežná revolúcia a hudba
(1990)
Prolegomena
k reforme umeleckého školstva
100
List ministrovi kultúry SR
(1990)
109
Noli
tangere!
(1992)
K šesťdesiatinám
Ilju
Zeljenku
128
Čo strácame a čo nachádzame na Slovensku
za hranicou
1.
januára
1993?
(Príspevok do ankety Kultúrneho života)
131
Smer
Sacrum
(1993)
(Esej s komentármi
akad.
maliara Rudolfa
Filu)
156
Meditácia o reťazi
-
Martin Rázus
(1993)
(Písané pre Tvorbu T)
162
Interpretácia ako tvorba
(1993)
(Vyjadrenie k návrhu na udelenie profesúry
Jozefovi Podhoranskému)
167
Medzi čítaním Milana Rúfusa
(1993)
171
Inferno
podľa Jankoviča
(1994)
174
Reč o aristokratizme
(1994)
(Etuda zo semiotiky)
183
Evanjelium podľa
Mila
Urbana a
Postskriptum
I
-
II
(i994
-
190
List ministrovi kultúry
(1995)
(Po prepustení „na hodinu
Dr.
Alžbety Rajterovej
z funkcie riaditeľky Slovenskej filharmónie)
191
Mýtus a realita
( 1995 )
(Príspevok do ankety SNG Šesťdesiate roky)
196
Ako vzniká skladba
(1995)
(List-odpoveď Jaroslavovi Šťastnému)
203
„Narodil sa Kristus Pán.
.. ? (1995)
208
Festival súčasnej hudby Melos-Étos
( 1996)
(Odporúčanie pre MK SR)
21O
Prekročiť
Rubikon (1996)
Poznámky o tvorbe Jozefa Sixtu
(Vyjadrenie k návrhu na udelenie profesúry)
214
O autorite alebo Prečo spomíname na
Dr.
Eduarda
Herzoga
(1996)
220
Tajomstvo mladosti
(1997)
Prof.
Belo Riečan šesťdesiatročný
224
Medzi remeslom a víziou
(1997)
(O Rudolfovi
Filovi)
230
Úvaha o charizme
(1997)
(K jubileu
prof.
Evy Fischerovej-Martvoňovej)
237
„Archaický človek
Tadeáš
Salva in memoriam
(1998)
244
„Boží človek Jozef Malovec
(1998)
(Z besedy In memoriam Jozef Malovec)
248
Problém kresťanskej kultúry
(1999)
(Úvod do diskusie na
II.
celoslovenskom stretnutí
evanjelickej inteligencie)
254
Inventúra
1999
Mr.
Lynch či
Herostratos?
(Predvianočné poznámky o závere medzinárodného
festivalu Melos-Étos)
271
Paideia
ako starostlivosť o dušu
(1999)
(Reflexia štúdia na VŠMU
-
Muzikologická konferencia
Päťdesiat rokov slovenských hudobných inštitúcií)
290
Jubilant Pierre
(2000)
292
Ad maiorem
Dei gloriam
(2000)
297
»Spravodlivý medzi umelcami
-
Iannis Xenakis
(2001)
303
List do Veľkého Borového
(2001)
305
List do Tvorby T
(2001)
308
Opus
magnum
-
Devätnásť pohľadov na
Oliviera
Messiaena
(2002)
(Medzinárodná interdisciplinárna konferencia
Message
Kvarteta
na koniec Času v Inštitúte Jána Pavla
II.
v Krakove)
321
John Cage
Nory Škuta
(2002)
(Oponentský posudok)
325
Vinš
Dr.
Elene Letňanovej
(2002)
327
List Ujovi Zeljenkovi k jubileu
(2002)
333
Hierarchia úrovní vedomia, intencionality a kompetencie
(2003)
(Muzikologická konferencia Hudba
-
umenie
-
myslenie
venovaná pamiatke
prof.
Jozefa Kresánka)
340
Otvorený list ministrovi kultúry
(2004)
344
„Nevydášfalošné svedectvo1.
-
slovo o Nevysloviteľnom
(2004)
(Medzinárodné stretnutie
Witold Lutosławski
-
národný skladateľ?
v Kráľovskom zámku vo Varšave na záver Roka Lutoslawského)
357
Schopnosť snívať
{200s)
358
Dr.
Ivan Mačák
-
Cena Curta
Sachsa
(2005)
37O
Čo by na to povedal Ľudovít Štúr?
(2006)
373
Združenie SOOZVUK
-
projekt
BRIDGE
(2006)
(Odporúčanie pre MK SR)
374
Kopernikovský zvrat
(2008 - 2009)
423
Vinš do Prahy a
Postskriptum (2009)
425
Čas na zmenu paradigmy
(2009)
(Medzinárodná vedecká konferencia Kultúra
-
Umenie
-
Vzdelávame na Univerzite Mateja Bela v Banskej Bystrici)
435 Chopin
apravda inšpirujúca
(2009)
(Príspevok do ankety CHOPINSPIRA vo forme listu
Krzysztofovi
Drobovi)
459
Štefánik
- „Chopin
politiky
( 2009 )
(Epilóg)
497
Résumé
507
Edičná poznámka
515
Výberová bibliografia
527
Človek dialógu vo svete monológov
-
Nad textami Romana
Bergera
(Michaela Jurovská)
549
Menný register
497
Résumé
Every
society,
always,
in
principle has two possibilities: evolution based on the develop¬
ment of spiritual culture in accordance with the spiritual basis of man, developing culture
as the regulator of individual and social existence
sui
generis
-
or involution based on deg¬
radation of the human-creative being to a beast-consumer...
-
these words from Roman
Bergers
Open Letter to the Minister of Culture
(2004)
mark the orientation of most of
those texts which are published as Journey with Music. From
Palach
to
Obama
-
and to
Štefánik.
Selected Texts
1969 - 2009.
They are loosely linked with the preceding selections
Music and Truth.
... 50
you mustn t think like that! Selected Texts
1977 - 87 (1997)
and
The Drama of Music. Prolegomena to a Political Musicology. Selected Texts
1990 - 1999
(2000),
as well as with a group of texts from the period
1984 - 2005,
published in Poland
as
Zasada
twórczości
(Principle of Creation,
2005).
Their author Roman
Berger
(1930)
is
a leading Slovak musical composer of Polish nationality
(Ján Levoslav
Bella Prize,
1967,
2010,
lohann
Gottfried Herder Prize,
1988,
Prize of the Ministry of Culture of the Republic
of Poland, Golden Order GLORIA ARTIS,
2007,
the Officer s Cross of Merit, awarded by
the President of the Republic of Poland,
2011
and recently the Union of Polish Composers
Prize,
2012
for „outstanding achievement in composition and inspiring work in philoso¬
phy and theory of music ), who has been active for many years as a theoretician and es¬
sayist, simultaneously with composing. As he emphasises in the introduction to Journey
with Music, even at that stage it was not his ambition to write a complete monograph.
The texts emerged ad hoc over a span of forty years, in the conviction (genetically inher¬
ited or instilled by upbringing? Presumably both..
.),
that if a man is a witness of something
that he cannot agree with, if he thinks that this hoc is wrong, diseased, idiotic, he has a duty
to speak out.
..
To speak out, or in Roman Berger s case to draw attention to the disease
which became the norm in the real socialism of yesteryear, just as in today s real or
wild capitalism
-
without, however, restricting oneself to identifying the symptoms, but
proceeding to lay bare its causes. The disease, according to the author, is a crisis of culture
/
crisis of morality
/
crisis of values, in the final analysis an ontological crisis.
Following from their origin as explained above, these texts have a wide thematic scope
and diversity of form and genre on the one hand, and on the other hand an inner unity
of purpose in thinking and spirit. There is something one might call the facetedness of
the work as a whole, when in a variety of texts the author illuminates one and the same
problem, always differently and in different connections, or conversely, when through the
prism of culture and the spiritual he examines outwardly unconnected partial problems,
498
apparently mutually distanced and heterogeneous expressions and phenomena, signs and
symptoms, and uncovers deep connections between them (he persistently emphasises
an axiom of systems theory: There are no isolated systems. ). The typological gamut of
the texts assembled in Journey with Music goes from wide-ranging conceptual materials,
where the author responds to social changes, problems and needs at home and abroad
especially in the last two decades, that is to say since November
1989,
to graceful minia¬
tures which are outwardly
-
only outwardly
-
of an intimate character. Among the key
texts are the musicological and, more broadly, culturological reflections
-
or rather an-
timusicological and anticulturological reflections (to use the authors terms) insofar as
they are conditioned by a new paradigm of knowledge, in which neither art nor reflection
upon it represents an isolated (autonomous) system. Taking pride of place is a complex
essay which is conceptually unsurpassed to this day and remains relevant in the highest
degree, The Velvet Revolution and Music
(1990),
significantly subtitled Prolegomena to
a Reform of the Art School System. Loosely associated with this is the conceptually expan¬
sive Letter to the Minister for Culture of the Slovak Republic, also from
1990,
where there
are clearly formulated premises and goals of a new cultural politics , with proposals of
systemic steps for bringing this about. The issue is revisited in the essay
Paideia
as Care
of the Soul
(1999),
thoughts on the long-running crisis of schooling and upbringing, pre¬
sented through reflections on study at the Academy of Music and Drama in Bratislava,
where Roman
Berger
completed the study of piano
(1956)
and composition
(1965).
In
the same category there are texts focused on other fundamental problems close to the
author s heart, for example The Problem of Christian Culture (opening discussion paper
at the II. All-Slovakia Assembly of Lutheran Intellectuals,
1999)
and Hierarchy of the Lev¬
els of Consciousness, Intentionality and Competence (paper presented at the musicologi¬
cal conference Music
-
Art
-
Thought, devoted to the memory of Prof.
Jozef Kresánek
and organised as part of the Bratislava Music Festival,
2003).
In the first text the author
addresses the question of spiritual values in today s world; in the second he poses the
problem of consciousness, which musicology and other art-scientific disciplines avoid
confronting, while taking into account the contemporary findings of the natural sciences.
Having ascertained the hierarchical structure of consciousness, he deduces an analogi¬
cally structured intentionality and especially competence. It follows from this that the
manifestations of the current cultural crisis which he criticises in the introduction (es¬
pecially the banishment of art, science and teaching to the periphery of social activity ),
result from a low level of competence, hence a stagnation of consciousness at the lowest
level, which is governed by Ego alienated from living Reality .
There are fascinating essays devoted to outstanding figures of world music in the 20th
century: The Just Man Among Artists
-
Iannis Xenakis
(2001),
Opus magnum -Nineteen
Views of Olivier Messiaen (paper presented at the international interdisciplinary conference
Message of the Quartet for the End of Time at the
lohn
Paul II Institute in Krakow,
2002)
and Thou Shalt Not Bear False Witness!
-
a Word on the Inexpressible (paper presented
at the international symposium
Witold Lutoslawski
-
National Composer? in the Royal
499
Castle in Warsaw at the close of the Year
ofLutosławski,
2004).
In these the author states
his conviction regarding the basis of authentic art, which is neither beauty nor logic, but
TRUTH . The outstanding works are therefore holograms of the sphere of the Sacrum ;
granted, they are born from thinking in the element of Beauty
(Józef
Tischner),
but
Beauty is here understood as the sensibly accessible truth of reality , i.e. the beautiful is
not a synonym for the nice
-
it may be delightful but it may also be horrific, articulat¬
ing the inexpressibility of Mystery . Connected with this is the problem of the spirituality
of art; the Spirit is here interpreted as (inter alia) the force that enables man to overcome
natural determinism
(Erwin Schrödinger)
and thereby also egoism and
egocentrism.
The suppression of the Spirit-force leads in the final consequence to destruction, deg¬
radation, levelling in any area whatever. The Spirit-force is imagined as a deepening of
consciousness
ша
in art it functions as an integrating factor. In the post-Auschwitz pe¬
riod art thus becomes a cry , a protest or an expression of hope (John Paul II), which
is in accordance with the conception of man as a being of Transcendence . Art becomes
a function of Transcendence it it expresses the consciousness of Unity, of cosmic drama ,
which is played out not only and not exclusively in the mega- and micro-world or in the
sphere of the metaphysical, but also simultaneously in the man-microcosm , because the
poles of Holomovement
-
Chaos and Cosmos
-
are also within us .
Among the most important texts are the three concluding essays from
2009:
The Copernican Revolution, which offers a summary and sets out a prognosis, the ex¬
tensive contribution to CHOPINSPIRA (a survey conducted by the Warsaw Autumn
music festival for the occasion of the Chopin bicentenary) entitled Chopin and the
Truth that Inspires and the equally extensive epilogue,
Štefánik
-
the Chopin of Poli¬
tics . While in The Copernican Revolution the author once again postulates and justifies
the inevitability of a change of the paradigm of knowledge, as figuratively expressed
in the essays very name { just as Copernicus put an end to Ptolemaic geocentrism , in
the new paradigm
egocentrism
and anthropocentrism, and their ethno-, euro- etc. de¬
rivatives, have succumbed to relativisation... ), in the two last texts, from the position
set out above, he gives an innovative interpretation of the spiritual legacy of two great
men, making it relevant to our times: the Polish composer
Fryderyk
Chopin (on his
father s side also French) and the Slovak scientist, Czechoslovak politician and French
general Milan
Rastislav Štefánik.
Roman
Berger,
then, always finds a source of inspiration and instruction in concrete
personalities, their fates and their work; furthermore, they lead him on to more broadly
conceived reflections on the relevant problems. We find evidence of this in Journey with
Music, in the essays already mentioned on Messiaen,
Lutosławski,
Xenakis or Chopin,
and also in the essay Ad maiorem Dei
gloriam
(2000),
devoted to
Johann
Sebastian Bach,
whose work is the quintessence of everything which civilisation
250
years after has, for
the most varied reasons, thrown overboard and which radiates not only Spirit as force,
but also absolute humility . This is likewise documented by
Bergers
chamber portraits
of important representatives of Slovak art and science (the author himself describes
Soo
them as studies in semiotics ), for example Speech on
Aristocratism
(i994-)> devoted to the
film director
Dušan Hanák,
or The Gospel according to
Milo
Urban and Postscript I
-
II
(1994 - 1995),
emotionally one of the most powerful texts in the collection. Here there
is a dual story of sin and repentance, guilt and forgiveness
-
the story of a literary figure
and the story of his creator, playing itself out in the period of the pro-fascist Slovak state
and presenting an analogy with the period of communist totality. Also to be considered
here is Meditation on the Chain
(1993),
musings or contemplations on the theme of hu¬
man solidarity (the chain referred to is a chain of hands). The intellectual and moral
legacy of the Slovak prose-writer, essayist and politician Martin
Rázus
is developed in
this work, which was written as a reply to survey questions by
Tvorba
Τ,
a magazine for
literature, culture and spiritual life .
Other monographic texts by their diction and imagery make one think of a hymn
or poetic ode. They are something like a poem on a poet or a poem about a poem
(
Whilst Reading Milan
Rúfus,
from
1993,
gives exquisite homage to a Slovak poet from
the second half of the 20th century, while at the same time and above all paying homage to
the great inspired poetry , that which renews the unity of man with Being, with Eternity,
with the Infinite, with Mystery ). Again, the work of Slovak fine artists such as the painters
Daniel Fischer
(samizdat
text subtitled On the Occasion of an Unofficial Exhibition,
1979),
Rudolf
Fila
(Between Craft and Vision,
1997),
the author s brother
Ján Berger
(The Coperni-
can Revolution,
2009)
and the sculptor
Jozef
Jankovič
(The Inferno according to
Jankovič,
i994)> stimulated
Bergers
thoughts on expressions of the new paradigm of knowledge in
artistic practice and art theory. Equally they impelled him to a polemic with the criterion
of novelty , which is part of the old paradigm and to which he
counterposes
the criterion
of the Truth of Being, approaching the sources
-
origo
-
of existence . In this connection
the author lays stress on the importance of art and artistic existence in a wretched time
(here echoing the great German romantic
Friedrich
Hölderlin)
and in the global Absurd-
/5fa« that
we are living in (using contemporary language), and he champions above all
the importance of asceticism-training in the creative process.
In letters and essays devoted to charismatic personalities for their jubilees he compiles
a personal and at the same time representative sample of the staunch citizen-stances of
some members of the artistic and scientific community during the period of communist to¬
tality. Noli
tangere
(1992),
a lengthy letter to his friend and colleague
Uja Zeljenka
(initiator
and co-founder of the Melos-Ethos international festival of contemporary music) for his
sixtieth birthday, expands into a clear-sighted critical balance-taking of Slovak musical and
cultural life in the course of some decades, including conflicts of generations and opin¬
ions, ideological pressures and political persecutions after
1968.
Again, congratulations
and at the same time a summing-up of life and work are addressed to the mathematician
Belo
Riečan,
co-organiser of the unofficial interdisciplinary seminars Mathematics and
Music (from
1984),
the ethno-musicologist Ivan
Mačák
(on being awarded the prestig¬
ious American Curt Sachs Prize), the pianists Eva
Fischerová-Martvoňová
and Elena
Letñanová,
the architect and tireless cultural organiser
Viliam
J.
Gruska,
and a number
501
of others. To these one must add these texts of a memorial character, especially the dis¬
arming essay-portraits of deceased Slovak composers
-
The Man of God
Jozef
Malovec
and The Archaic Man
Tadeáš
Salva
(both texts from
1998),
likewise his respects paid
to a Czech music producer and musicologist of Slovak origin On Authority, or Why We
Remember Dr.
Eduard
Herzog (1996).
The author s untraditional reviews of musical events, included in Journey with Music,
exceed the bounds of ordinary musical criticism (journalism) and pass over into profound
reflections on the fundamental problems of musical creation and interpretation (from the
concise but essential evaluation of
Bázlik s
verbal and musical interpretation of Beethoven s
piano sonatas What Was That?,
ѓгогтдбз,
to the more extensive Notes on
Vladimír Godár s
composition Dariachanga s Orchard
-
A Myth, from
1988,
and the conceptual critical essay
Inventory
1999,
subtitled Mr. Lynch or
Herostratos? Pre-Christmas
notes on the conclusion
of the International Melos-Ethos Festival, and other matters). Of a similar nature are his
expert reports for
VŠMU
(Academy of Music and Drama), when the artistic develop¬
ment of a particular individual leads Roman
Berger
to reflect, for example, on the courage
to cross the Rubicon between the old and New Music, in which an exclusive negation
of the structures of traditional music would lead to chaos (Notes on the Work of
Jozef
Sixta,
1996),
and again at other times to exalt performance as artistic creation , as creative
production as opposed to mere reproduction and the professional (objectivist or subjec-
tivist) presentation of the work (Statement on the Proposal to Award a Professorship to the
Cellist
Jozef Podhoranský,
1993,
Nora
Škutas
John Cage,
2002).
Also manifestly not banal
are the author
s
replies to surveys (especially Myth and Reality,
1995,
on the occasion of the
exhibition Sixty Years in the Slovak National Gallery in Bratislava) or his recommenda¬
tions of musical projects for the Slovak Ministry of Culture. Finally, let us recall the open
letters and non-open letters, that is to say, letters not published for the general reading
public, to a number of Slovakia s Ministers of Culture, which are often sharp responses
to particular social-cultural events and lingering unsolved problems. The strong ethical
charge which characterises these texts, bearing witness to the authors profoundly-felt
civic involvement, was already marked in two discussion contributions from
1969,
one
of them presented at a union meeting shortly after the author had attended the funeral
of
Ján Palach
(in an elaborated form entitled Opus
69.
Prelude??? Intermezzo?? Coda7.),
the second at a special conference of the Union of Czechoslovak Composers (The Meas¬
ure of Humanity). Here begins the arch of time described by Journey with Music, which
spans the distance, figuratively speaking, from
Palach
to
Obama
-
from the tragic wreck
of
Dubček s
experiment at socialism with a human face and the self-immolation of the
young Prague student in protest against the occupation of Czechoslovakia by the Warsaw
Pact armies, to the present, meaning the postdemocratic era with neo-feudal features ,
conventionally labelled as the epoch of globalism, where the election of
Barack
Obama
as president of the USA becomes a symbolic pledge that a change of paradigm in global
politics is possible . Its prototype, according to Roman
Berger,
is actually the structure of
the Bible conceived as a dynamic system , which contains the fundamental change of Old
502
Testament
into New Testament , hence to the law of Love (Agape)
.
As further elaborated
by the author in his essay The Copernican Revolution, inauguration of a new era of politics
should introduce politics which would be in accord with contemporary knowledge, as
also with old wisdom, anchored in the foundations of universal spiritual culture , which
would go beyond the bounds
oí
civilisations barbarism and would seek to integrate itself
thoroughly into the world ethos
[...]
as a system of the highest rank, as a binding norm .
Although this path would be a narrow path , it would lead to the borders of the Promised
Land. It would be a path to spiritual maturity.
The fragmentary chronicle of the authors unique personal and professional experi¬
ence is therefore at the same time a panorama of society and of the time, its fundamental
tendencies and contradictions, aspirations and ambitions at the turning of the second
and third millennia, the
20
and 21st centuries. Roman
Berger
reflects all these from his
standpoint
-
from the precisely defined observatory of a musical composer and thinker,
culturally belonging to the Central European and politically to the East European zone ,
hence to the Second World. From there, however, our observer systematically watches
and takes heed of the so-called Third World, and from this angle of vision he investigates
and evaluates the pressing global problems of today. The author s complexity of view
corresponds to the systemic approach and bears witness to its observatorial overview
and simultaneously insight into things, and, indeed, his human involvement in the fates
of the insulted and injured , and his feeling of responsibility for them. The discoveries
that
Berger
arrives at over time, the forebodings that are always with him and which he
reveals to us, the possibilities and tendencies that he sets before us
-
with a rare ability
to interfuse the intimate and personal with the communal and universal, and through
concrete detail or subjective experience to capture something fundamental which is of
wider validity
-
are amplified by extracts from the great Polish poets
Zbigniew
Herbert,
Czesław Miłosz, Tadeusz Różewicz, Cyprian Norwid and Wisława Szymborska,
whose
life histories and artistic experience correspond with his own and whose poetry has fre¬
quently inspired him in his own work. All of this contributes to making Journey with Musk
attractive to the reader and among other things testifies to the indubitable literary talent
of the musician Roman
Berger.
Like it or not, we must pose the elementary questions: what is the basis of art? What is
new in the so-called New Art, the New Music? Why does it make sense to perform a musi¬
cal work? At the same time, however, we must ask: what does the term culture really mean?
Is man really homo sapiens? What defines the nature of the human world? What is the
present-day picture of Reality like? These fundamental questions (cited here from Inven¬
tory
1999)
are voiced throughout the whole book: irrespective of the form or extent of the
given text, they are everywhere present implicitly or in various ways explicitly formulated.
Their urgency
-
and stemming from this, the suggestive force of
Bergers
Journey with
Music
-
is due to the author s persistent and independent quest for truth, his courage to
see things differently, his personalistic fidelity to what he has resolved on. The common
503
denominator of this latest selection, as of preceding selections, is reflection in the Hei-
deggerian sense
-
the ability to think ones own thought , which for Roman
Berger
also is
a binding norm . Revealing itself ineluctably behind contemporary problems, phenomena,
tendencies and megatrends is the conflict of the old and new paradigm of knowledge,
where Rene Descartes s
Cogito ergo
sum leads to the splitting of Being into Subject and
Object, while Paul Ricoeur s Sum ergo
cogito
heals the rift once again. Civilisation and
culture here represent two systems which find themselves counterposed; with a one-sided
bondage to the objective world one arrives at the disappearance of sacredness, destruc¬
tion of the spiritual basis of man, the spiritual foundation of culture, the spiritual dimension
of democracy
sensu stricto ,
suppression and expulsion of these from human conscious¬
ness and life practice, emptying-out ofthe remnants of good morals, responsibility and
the feeling of shame
,
loss of the ability to distinguish Good and Evil, Truth and Lie, Justice
and Injustice , loss
oí
intuition and insight (Hierarchy of the Levels of Consciousness, In-
tentionality and Competence). In the profaned world, where everything is permitted and
all is equally good (in accordance with the slogan Anything goes!), and where all things
becomes commodities designed for consumption, culture has adapted itself to civilisa¬
tions, processes and has lost its mystical foundations, and thereby also its integrity and the
identity stemming from that (Towards the Sacrum,
1993).
To restore the lost unity, to be
renewed by a return to Eliades vertical Sacrum, to the Omega point, to be born again of
the Spirit , as the Gospel commands us
-
upon this depends the survival of man and man¬
kind. The new
universalist
paradigm, the holistic understanding of culture and nature
and thereby also of man (man as a being who instead of a struggle conducts an incessant
dialogue with Nature , which is found not merely outside him but within him also; cul¬
ture as the living and life-giving Spiritual) is the Ariadne s thread which leads us out of the
labyrinth of the world to the lost and nevertheless still always possible paradise of the heart.
The final phase of our civilisation may last for a long time yet, but perspectively it will be
condemned to extinction so long as the horizon of anthropocentrism does not give way
before the horizon of the Cosmos
-
cosmogenesis , the author warns emphatically. Already
in
1990
he had summarised the core of the problem in The Velvet Revolution and Music:
The absence of Spirit, that is to say the domination of Ego, has caused a crisis of culture;
included in this is a crisis of upbringing; the result of the crisis of culture/upbringing is that
Civilisation is running wild; civilisation running wild expresses itself as an ecological problem;
[...]
at bottom the eco-problem is the ego-problem.
Egocentrism
is a parallel to geocentrism.
The world stands before the solution of the Ptolemaic problem. It is a matter of a Copernican
revolution
-
renouncingthefictions and taking account ofTHAT WHICH IS, taking account
of Reality, the truths of Being
[...]
It is inevitable
[...]
that the problems of man and society
must be situated in the perspective of the Cosmos, the Universe. It is necessary to move on
from reductionist mental schemes to
universalist
thinking. A cosmicisation of conscious¬
ness is required. To take part in the processes leading to this inescapable transformation of
consciousness, which mankinds survival depends on, is the most authentic role of the new
music, literature and art, according to the author. In other words: Adaptation to a world
504
which is manipulated by alienated power is unthinkable for a responsible art {Hierarchy of
the Levels of Consciousness, Intentionality and Competence).
Among Slovak thinkers on culture the musician Roman
Berger
is exceptional and ir¬
replaceable. He is a man of dialogue in a world of monologues , programmatically com¬
mitted to balance between the vita
activa
and vita
contemplativa.
In his own case this
brings a ripe and beautiful crop in the fields of music and essay-writing { Beauty is the
sensibly accessible Truth of reality !). In our cultural context
-
and not only in the context
of Slovakia but of all Central Europe at least
-
he is exceptional in the range of questions
he has tackled and in his manner of tackling them, above all in his open and ecumenical ,
that is to say unorthodox and untraditional thinking. For him the principle of dialogue as
a common approach towards Truth is at the same time a principle of polylogue , a many-
sided dialogue that is secular and inter-cultural as well as metaecumenical. Roman
Bergers
ecumenism does not limit itself to mutual exchange and inspiration in the Christian
context, but ranges more broadly in the context of Christianity and antiquity or of all three
of the great monotheistic religions, and more broadly still in the context of western and
eastern thinking, drawing fruitfully on the wisdom of the East, especially Buddhism and
Taoism. His unorthodoxy and openness of mind corresponds to the new non-classical
paradigm of knowledge and results also from the authors scope of knowledge in many
scientific disciplines (logic, mathematics, the biological theory of knowledge, depth and
trans-personal psychology, etc.), and also in metascientific disciplines or metatheories
(cybernetics, synergetics, systems theory, catastrophe theory, paradigm theory etc), to
which one must add phenomenology and theology. The author draws upon their findings,
mediated mainly by popular scientific works; in doing so he is guided by the conviction
that today there is no barrier between science and the humanities or between science and
mysticism, and todays sciences of man include perhaps all scientific disciplines , which
likewise corresponds to the new paradigm of knowledge.
The key concept of the Journey appears in Christianity, as it does in Buddhism or
Taoism, and encompasses many individual or partial journeys coming together in the
lourney that leads to the heights of Eternal Being , to the metaphysical , to universal
Oneness ( Thou Shalt Not Bear False Witness!
-
a word about the Inexpressible). It com¬
bines with the concept of exodus as a 40-year wandering to the Promised Land, which
(in Biblical number symbolism) is the period of testing. In Roman
Bergers
latest book
that is the 40-year period from the post-occupation and normalised socialism with an
inhuman face to the present-day free and democratic society, installed in the Velvet
(or Gentle ) Revolution
20
years ago, whose real face is deformed by the age-old worship
of the golden calf. Berger s reflections on the lethal megatrends of civilisation and the
fragile mimdramas of existence are addressed to all people of goodwill, all freely think¬
ing individuals who reject the imposed role of the contemporary consumer and the bib¬
lical Ox-man and who see clearly that the destinies of the world, of man and mankind,
of art and culture, depend crucially on an ethos not trivially understood . He is writing
for those who are convinced that after November
1989,
just as before it, we are all bound
5O5
to promote life in Truth , in the sense meant by the great Czech philosopher and dissident
Jan Patočka; Berger
identifies with his teaching in his book and throughout his life and
work. And again,
Berger
addresses those who together with him, and perhaps also thanks
to him, thanks to his example, know what is fundamental: to raise dykes , i.e. to confront
the extinction of humanity , the expanding zones of
anomie
ana destruction of think¬
ing . As the Bhagavad
Gita
says and
Berger
repeats in Journey with Music: It is your duty
to act rightly and knowing that the result of your deeds does not depend upon you. Or, to
paraphrase the author s words in The Copernican Revolution: Even if we are not in a posi¬
tion to make a practical difference to things on a global level (often not even on a local level),
that does not relieve us of the duty to reflect on the problems.
Translated from Slovak by John
Minahane
|
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| spelling | Berger, Roman 1930-2020 Verfasser (DE-588)129528838 aut Cesta s hudbou od Palacha po Obamu - a po Štefánika ; výber textov z rokov 1969 - 2009 Roman Berger Bratislava Hudobné Centrum 2012 566 S. Ill. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Geschichte 1969-2009 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Slowakei (DE-588)4055297-4 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Slowakei (DE-588)4055297-4 g Musik (DE-588)4040802-4 s Geschichte 1969-2009 z DE-604 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025918613&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025918613&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Berger, Roman 1930-2020 Cesta s hudbou od Palacha po Obamu - a po Štefánika ; výber textov z rokov 1969 - 2009 Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4040802-4 (DE-588)4055297-4 (DE-588)4143413-4 |
| title | Cesta s hudbou od Palacha po Obamu - a po Štefánika ; výber textov z rokov 1969 - 2009 |
| title_auth | Cesta s hudbou od Palacha po Obamu - a po Štefánika ; výber textov z rokov 1969 - 2009 |
| title_exact_search | Cesta s hudbou od Palacha po Obamu - a po Štefánika ; výber textov z rokov 1969 - 2009 |
| title_full | Cesta s hudbou od Palacha po Obamu - a po Štefánika ; výber textov z rokov 1969 - 2009 Roman Berger |
| title_fullStr | Cesta s hudbou od Palacha po Obamu - a po Štefánika ; výber textov z rokov 1969 - 2009 Roman Berger |
| title_full_unstemmed | Cesta s hudbou od Palacha po Obamu - a po Štefánika ; výber textov z rokov 1969 - 2009 Roman Berger |
| title_short | Cesta s hudbou |
| title_sort | cesta s hudbou od palacha po obamu a po stefanika vyber textov z rokov 1969 2009 |
| title_sub | od Palacha po Obamu - a po Štefánika ; výber textov z rokov 1969 - 2009 |
| topic | Musik (DE-588)4040802-4 gnd |
| topic_facet | Musik Slowakei Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025918613&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025918613&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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