Music production and interpretation constitute an aesthetic constellation in their irrevocable reciprocal relation. But only as long as interpretation does not reify production by means of mere being-used. “The future is to be the higher echo of the past”, Schumann noted in the early thirties. The practice of the music industry, its tendency towards utility value levels out this “echo”. In the history of music interpretation, we can discern a constant tendency towards the Musilian “sense of facts” that obstructs music’s characteristic “sense of possibility” with conceptual commitments and that seems to possess itself of thought and deed, so to speak as materialistically augmented metaphysics. In the interpretational dialectics, the new in the light of the old, the old in the light of the new, the sense of facts wears out and releases the sense of possibility. The relation of interpretation and production should be perceivable as a constant rescue attempt from sinking in the sense of facts or the only-being-used.
Markus Böggemann (D), Andreas Dorschel (A), Gernot Gruber (A), Harald Haslmayr (A), Hanns-Werner Heister (D), Hans-Joachim Hinrichsen (CH), Richard Klein (D), Otto Kolleritsch (A), Claus-Steffen Mahnkopf (D), Peter Horst Neumann (D), Walter-Wolfgang Sparrer (D), Uwe Steiner (D), Ivanka Stoïanova (F) u. a.