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Barth on Mozart by Howard Schomer Mr. Jones is pastor of the Buerneville and Monte Rio Community churches in California. This article appeared in the Christian Century, March 21-28, 1984, p. 309. Copyright by the Christian Century Foundation and used by permission. Current articles and subscription information can be found at www.christiancentury.org. This material was prepared for Religion Online by Ted & Winnie Brock. (Reprinted
from the July 18, 1956, issue) Geneva. June
23. Yesterday evening an event in every way unique
and of the utmost charm took place in the graceful auditorium of the University
of Geneva. Professor Karl Barth of the University of Basel lectured for forty
minutes -- in conjunction with the performance of a “Salzburg Divertissement”
by the brilliant Geneva student orchestra -- on the astonishing “freedom” of Mozart. Those who have known the renowned Basel
professor only as the re-creator or a vast system of orthodox and dogmatic
theology have no doubt been amazed at his active contribution to the
bicentennial of Wolfgang Amadeus Mozart. Barth recently published a little
volume in German in which he renders homage to the “secret of Mozart.” His
appearance in Geneva last evening was a rare occasion, for nowadays he does not
often leave his Basel classroom and desk. He came, amid the festival which
Geneva is dedicating to the memory and the art of Mozart, to declare in his
delightful French his lifelong passion for the composer whose work has been
termed by some, less careful theologically than Barth, a true miracle. Many who listened to the joyful Karl Barth of
last evening, prophetic Swiss German adversary of Hitler from the very
inception of National Socialism, recalled his last appearance in this same
university hall some ten years ago. They remember the shock with which the
audience then heard this ever-surprising Christian thinker as he affirmed:
“What the Germans, prostrate amid their ruined cities, now need most is not
schoolmasters, such as we in Switzerland, from Zurich to Geneva, are quite
ready to send them. What the Germans now need is friends.” Karl Barth was no less refreshing yesterday as
he deftly described the total receptivity and objectivity of the artist he
loves, to whose music he listens daily. He rejoiced that in Mozart’s music “the
sun shines, but without burning or weighing upon the earth” and “the earth also
stays in its place, remains itself, without feeling that it must therefore rise
in titanic revolt against the heavens.” He bowed before an art in which “the
laugh is never without tears, tears are never unrelieved by laughter.” He
honored Mozart who, though Roman Catholic and yet a Freemason, was utterly free
of all institutional deformations, whether ecclesiastical or political. He
confessed the reality and the peace he finds in an art which embraces nature,
man and God, which is as true to life as it is to death. One of our famous contemporaries once asked Karl
Barth whether the inexplicable Mozart were not perhaps an angel. Last evening
Barth reached out, in gratitude and respect, toward the ultimate mystery of
Mozart, working alternately on the Requiem and the Magic Flute as
the shadows of early death visibly closed in about him, but the great
theologian did not attempt by some intellectual incision to penetrate the great
musician’s uttermost secret. It was not with heavy solemnity but rather with
not unmischievous good humor that Karl Barth concluded his homage to Mozart,
the bicentennaire. He confided to the audience his very personal
estimate of several of the world’s favorite composers: ‘Bach? Profondément respectable! Beethoven?
Hautement admirable! Tel autre, ou tel autre? Plus ou moins remarquable!
Mozart? Aimable!” For the audience privileged to be at the
University of Geneva last evening there will ever remain a bond between the
celebration and the gratitude recently expressed to Karl Barth throughout the
theological world on the occasion of his own 70th birthday. It will remember
the words in which Barth summed up the grandeur of the Austrian composer:
“Mozart teaches us the sovereignty of the true servant.” |