The Musical Nietzscheana of Alphons Diepenbrock
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Abstract
Friedrich Nietzsche and the Dutch composer and essayist Alphons Diepenbrock, as well as the
situation of their divergence in the domain of the vocal-orchestral work “In the Great Silence”
(“Im grossen Schweigen”). The analysis of the symphonic poem is preceded by a section which
examines the parallel and intersecting lines of fate and the creative development of both figures,
their preferences in literature, particularly poetry, touching upon the concepts of the “Apollonian”
and “Dionysian” sides of art, which were of great concern for both Nietzsche and Diepenbrock.
Nietzsche's aphorism “In the great silence”, which became the literary basis of the eponymous
symphonic poem by Diepenbrock, is marked by the fact that it is a plotless text that resembles
the form of an internal monologue of a modernist novel. At the same time, the composer,
carefully following the words of Nietzsche, placed this text into a special structural framework
and interpreted in a particular way the content of the aphorism, the main protagonists of which
are man and nature. Reevaluating the semantic core of the philosophical text, Diepenbrock
introduced into it a version of finale which is different from the original. In this case, he, being
a canonical Catholic, did not resort to criticism of man who could permit himself to deal with
Nietzsche, did not leave him to himself with his imperfection, but directed him onto a certain
path that elevates man above himself.
Keywords: Nietzsche, Diepenbrock, inner monologue, conflict, Dionysian and Apollonian
sides of art, Catholicism, anthem.
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