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Mozart Among the Theologians
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The essay compares and contrasts the philosophical, theological, and aesthetic approaches to Mozart in the writings of Søren Kierkegaard's aesthete A (Either/Or, I), Karl Barth (primarily Wolfgang Amadeus Mozart), and Hans Küng (Mozart: Traces of Transcendence). Whereas Kierkegaard's A outlines a non‐religious ‘daemonic Mozart’, Barth and Küng depict two contrasting theological understandings of Mozart's music. Barth's Mozart reflects a Reformed aesthetic, with Mozart as a ‘parable’ of gospel, whereas Küng's Mozart reflects a Roman Catholic ‘sacramental’ vision of music and religious faith. The essay explores how these different visions of Mozart are shaped by both their theological and aesthetic commitments.
Title: Mozart Among the Theologians
Description:
The essay compares and contrasts the philosophical, theological, and aesthetic approaches to Mozart in the writings of Søren Kierkegaard's aesthete A (Either/Or, I), Karl Barth (primarily Wolfgang Amadeus Mozart), and Hans Küng (Mozart: Traces of Transcendence).
Whereas Kierkegaard's A outlines a non‐religious ‘daemonic Mozart’, Barth and Küng depict two contrasting theological understandings of Mozart's music.
Barth's Mozart reflects a Reformed aesthetic, with Mozart as a ‘parable’ of gospel, whereas Küng's Mozart reflects a Roman Catholic ‘sacramental’ vision of music and religious faith.
The essay explores how these different visions of Mozart are shaped by both their theological and aesthetic commitments.
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