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Heinrich Von Kleist Zum 200. Todestag Eine Musikalische Annäherung (1)

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Heinrich Von Kleist Zum 200. Todestag Eine Musikalische Annäherung (1) _______________________________________________________________________________ "Und aus des Horizontes Tiefe ..." - Heinrich von Kleist zum 200. Todestag Eine musikalische Annäherung (1) 2 SWR 2 Musikstunde, 14. November 2010 Text 16‘30 "Und aus des Horizontes Tiefe ..." - Heinrich von Kleist zum 200. Todestag Eine musikalische Annäherung (1) Wer war Heinrich von Kleist? Einer der bedeutendsten deutschen Dichter und Dramatiker. Darüber sind wir uns heute einig. Und zumindest eines seiner Werke dürfte jedem präsent sein: „Der zerbochne Krug“ oder „Das Käthchen von Heilbronn“. Zu Lebzeiten Kleists sieht das ganz anders aus. Kaum einer kennt ihn, kaum eines seiner Werke wird veröffentlicht. Die Intendanten wollen seine Dramen nicht aufführen, die Zuschauer sie – mit Ausnahme des Käthchens - nicht sehen, zu brutal, zu gewalttätig, zu politisch, viel zu modern. Als Dichter ist Heinrich von Kleist gescheitert, als Mensch eigentlich auch: eine abgebrochene Militärlaufbahn, verfehlte Beziehungen, ein ewig Suchender, ein Aussteiger, ein Provokateur. Am Ende der inszenierte Freitod. Kleists Leben, salopp gesagt, alles andere als eine Erfolgsstory. Wie gerne hätten wir ihm damals zugerufen, deine Zeit wird kommen, ein großer Geiger und Komponist, nämlich Joseph Joachim wird schon bald eine Ouvertüre dir zu Ehren schreiben. „Dem Andenken Heinrich von Kleist“. (1’00) 3 Musik 1 Joseph Joachim: Elegische Ouvertüre op.1 „Dem Andenken Heinrich von Kleist. Philharmonisches Orchester Maastricht / Roland Bader / M0036491 Schwann MUSICA MUNDI 31514-2 10‘32 „Dem Andenken Heinrich von Kleist“, so lautet die Widmung dieser Elegischen Ouvertüre von Joseph Joachim. Roland Bader leitete das Philharmonische Orchester Maastricht. Vor 200 Jahren, am 21. November 1811, ist Heinrich von Kleist mit nur 34 Jahren durch Freitod aus dem Leben geschieden. Aus einem kurzen Leben, ein Leben, geprägt von seiner adligen Herkunft, der militärischen Tradition seiner Familie, den preußischen Kriegen und dem verzweifelten Versuch, sich selbst zu finden, den Menschen, den Schriftsteller Kleist. Ein Weg voller Hindernisse, voller Höhen und sehr viel mehr Tiefen, voller Abstürze. Kleist ein Mensch der Extreme. Wir wollen uns diesem Freigeist, diesem lange Zeit verkannten Genie in den SWR 2 Musikstunden dieser Woche nähern über seine Zeit, sein Leben, sein Werk, über Kleist-Vertonungen und über den Musiker Heinrich von Kleist. Er spielte gut Flöte und Klarinette und schnitzte mit großer Perfektion die Rohrblättchen für sein Instrument selbst. Wäre sein holpriges Leben anders verlaufen, vielleicht hätte er sich viel intensiver mit der Sprache der Töne auseinandergesetzt. „Denn ich betrachte diese Kunst – die Musik“, so Kleist, „als die Wurzel aller übrigen ... und so habe ich von meiner frühsten Jugend an, alles Allgemeine, was ich über die Dichtkunst gedacht habe, auf Töne bezogen. Ich glaube, dass im Generalbass die wichtigsten Aufschlüsse über die Dichtkunst enthalten sind“. 4 Das notierte Kleist, im Sommer 1811, wenige Monate vor seinem Tod. Also in der Harmonie der Musik liegt die Erkenntnis über Klang und Rhythmus der Sprache, der Poesie. (1‘45) Musik 2 Robert Schumann:“Der Dichter spricht“ aus den Kinderszenen Martha Agerich M0066952 013 Deutsche Grammophon 453566-2 2‘03 “Der Dichter spricht“ aus den Kinderszenen von Robert Schumann, Martha Agerich am Klavier. Im Kleistjahr 2011 wird vor allem der Dramatiker Kleist gefeiert. Das Berliner Maxim Gorki Theater spielt in diesem Monat alle Dramen Kleists. Allein diese Woche können Sie in Berlin „Penthesilea“ und den „zerbrochnen Krug“ sehen. Ohnehin steht der Dorfrichter Adam mit seinem absurden Verstrickungsszenario bundesweit ganz hoch im Kurs. 200 Jahre Kleistforschung, Kleistrezeption haben den sprachgewaltigen Dramatiker und Dichter dahin gestellt, wo er hingehört. In die Reihe der großen deutschen Literaten seiner Zeit, zwischen Schiller, Goethe, Hölderlin und Jean Paul und als Wegbereiter der Moderne. Spätere Dichter beziehen sich auf Kleist als radikalen Traditionenbrecher. Kleists Werke sind heute Pflichtlektüre auf deutschen Gymnasien und Michael Kohlhaas immer wieder Sternchenthema im Abitur. Kleist in all seinen Facetten so präsent, so aktuell wie nie zuvor. Bei der Recherche zu diesen Sendungen bin ich auf ein Lied von Franz Schubert nach einem Gedicht von Kleist gestoßen. Kannte Schubert 5 seinen Zeitgenossen Kleist? 1810 wurde immerhin das romantische Ritterstück „das Käthchen von Heilbronn“ am Theater an der Wien uraufgeführt. Aber das Gedicht des Schubert Liedes stammt nicht von Heinrich, sondern von Ewald Christian von Kleist, einem entfernten Verwandten, der romantische Verse verfasst hat und damals um 1800 weitaus bekannter war als Heinrich, zu dessen Lebzeiten wird keines seiner Werke vertont. Kleists musikalische Entdeckung fällt ins späte 19., vor allem ins 20. und 21. Jahrhundert. Wolf, Goldmark, Pfitzner, Henze, Schoeck oder Rihm, sie alle haben Kleist vertont. Rihm und Schoeck sogar eines der schwierigsten Dramen Kleists für die Opernbühne: Penthesilea. Karl Goldmark und Hugo Wolf haben sich zuvor schon in Orchesterwerken an die blutrünstige Penthesilea gewagt. Wolf schrieb eine sinfonische Dichtung, daraus hören wir gleich den Anfang. Kurz zum Inhalt: Penthesilea, Königin der Amozonen verliebt sich in den griechischen Helden Achill. Nach dem Gesetz muss sie den Mann, den sie liebt, im Kampf besiegen. Zuerst unterliegt Penthesilea, beim zweiten Mal erscheint Achill ohne Waffen, das erkennt Penthesilea zu spät. Sie durchbohrt ihn mit einem Pfeil, jagt die Hunde auf ihn, zerfleischt ihn und trinkt sein Blut. Sie tötet das, was ihr am liebsten ist. Eine schaurige Geschichte. (2’30) 6 Musik 3 Hugo Wolf: Penthesilea, Symphonische Dichtung, Aufbruch der Amazonen nach Troja Radio Sinfonieorchester Stuttgart des SWR / Dietrich Fischer Dieskau M0041524 009 EMI CLASSICS 562195-2 5‘20 Eine todbringende Liebe, ein kanibalistisches Ende, psychologisch hoch kompliziert: Penthesilea, eines der brutalsten Stücke Kleists über extreme Charaktere, Liebe und Hass, Erotik und Aggression, Individualität und gesellschaftliche Ordnung. Ein Spiegel seiner zerrissenen Seele, seiner selbst. Das Radio Sinfonieorchester Stuttgart spielte „Aufbruch der Amazonen nach Troja“ aus Hugo Wolfs symphonischer Dichtung „Penthesilea. Dietrich Fischer-Dieskau war der Dirigent. Die Wiener Philharmoniker haben Wolfs Werk damals 1886 abgelehnt, wegen des Inhalts, der musikalischen Brüche oder weil Wolf, nach seinen Angriffen gegen Brahms, nicht wohl gelitten war. Gunst und Missgunst, das bekommt auch Kleist zu spüren. Voller Zuversicht vertraut er seine Penthesilea Goethe an, mit der stillen Hoffnung auf eine Aufführung in Weimar, aber Goethe weist das Stück entschieden zurück. Für ihn bleibt unverständlich, wie Kleist das Bild der griechischen Antike, die Inhalte der deutschen Klassik, die Ideale des Humanismus so brutal zerstören kann. Alles, was Goethe mit seiner Iphigenie, dem Abbild des redlichen Humanisten, geschaffen hat, scheint mit einem Mal dahin. Nicht nur Goethe strebte mit der Iphigenie nach dem göttlichen Ideal, Christoph 7 Willibald Gluck hat das Drama des griechischen Dramatikers Euripides in einer Oper vertont. In der großen Arie im letzten Akt hadert Iphigenie mit ihrem Schicksal, sie soll nach altem Brauch den eigenen Bruder opfern: „Den Unglückseligen morden / ist mir zur Pflicht geworden / Ich folge ihr, doch ist mein Herz von jeder Qual zernagt.“ (1’40) Musik 4 Christoph Willibald Gluck: „Iphigénie en Aulide“, Arie der Iphigenie, 4. Akt, Patricia Petibon / Concerto Köln, Daniel Harding M0107018 013 Deutsche Grammophon 00289 477 7468 3‘02 In Glucks Oper „Iphigenie in Aulis“ tötet die Hohepriesterin ihren Bruder nicht. Durch Vernunft und reine Menschlichkeit wird sie auf den rechten Weg geleitet, ganz anders als Kleists mordende Penthesilea. Patricia Petibon sang die Iphigenie. Daniel Harding leitete Concerto Köln. Kleist damals ein Randfigur, kaum bekannt, heute omnipräsent: Im Internet in 13 Sekunden über anderthalb Millionen Eintragungen. Unter heinrich-von-kleist.org. findet man das offizielle Kleist-Portal mit der schönen Überschrift: „Herzlich willkommen zum Webauftritt für Heinrich von Kleist“. Kleist hat eine eigene Homepage. Herausgegeben von der Kleist Gesellschaft in Köln und dem Kleist- Museum in Frankfurt Oder, wo der Dichter am 18. (nach eigenen Angaben am 10.) Oktober 1777 geboren wird. 8 In seinem kurzen Leben zieht er oft ziellos durch Europa, so dass heute viele Orte, Städte, Länder Anspruch auf den Dichter erheben. Frankfurt an der Oder und Berlin, als Geburts- und Sterbestädte, ebenso Würzburg, Königsberg, Paris, Dresden, Weimar, Heilbronn allein wegen des Käthchens oder Thun in der Schweiz, wo Kleist zweimal für kurze Zeit wohnt und wo er sich zeitweise am liebsten als Bauer im Sinne Rousseaus niederlassen würde. Auf einer kleinen Insel in der Aare arbeitet Kleist an seinen ersten Dramen, die Familie Schroffenstein und Robert Guiskard. Die kleine Insel, die heute mitten in Thun liegt, heißt seit März dieses Jahres „Kleist-Inseli“. Sie ist im Privatbesitz und nicht offiziell zugänglich, das Kleisthäuschen wurde ohnehin 1940 abgerissen, zu einer Zeit, wo man nicht so gut auf die Deutschen und ihre Dichterfürsten zu sprechen war. Davon abgesehen, haben sich viele deutsche Künstler am Thuner See wohlgefühlt. Johannes Brahms erlebte hier, so wie einst Kleist, glückliche Stunden in der herrlichen Bergluft, am schimmernden See. Man riecht und spürt es in der Brahms‘schen Musik. (2’00) Musik 5 Johannes
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