After Christian Saehrendt took a primarily biographical look at Nietzsche's relationship to music on this blog in June last year (link), Paul Stephan focuses in this article on Nietzsche's content statements about music and comes to a somewhat different conclusion: For Nietzsche, music has a liberating power through its subjectivating power. It affirms our sense of self and inspires us to resist repressive norms and morals. However, not all music can do that. With late Nietzsche, this is no longer Richard Wagner's opera, but Georges Bizet's opera carmen. Our author recognizes a similar attitude in Sartre's novel The disgust and in black popular music, which is not about comfort or grief, but affirmation and overcoming.

For hardly any other philosopher, music was as important as it was for Nietzsche. “Without music, life would be a mistake”¹, he wrote. Christian Saehrendt goes for Nietzsche PopArts The question of how this high appreciation of sound art was manifested in his life and work. He talks about Nietzsche's own compositions as well as one of the most iconic aspects of his life: his friendship with Richard Wagner. He shows that the music for Nietzsche is almost erotic It was important — and in this respect he was not so “out of date” at all, but a typical child of his time.

From October 12 to 15, the annual meeting of the Friedrich-Nietzsche Society took place in Naumburg. Numerous experts from all over the world came together to explore the various causes of Nietzsche's impact in the first decades following his mental collapse. The spiritual struggles over Nietzsche repeatedly referred to the real struggles of the past — and those of our present.