De instrumenta

Book 7, chapter F, vs.62-103 (Athos version)

“Moses’ avowal comes from his awakening. He knows that he is the last man. Thanks to this fact, the holiest was to tell him where to guide his people on the Sinai triangle. […] farms for the (spirit?)[…] without any help, he would renounce since easier with words even than A(a)ron. He can manipulate the sea through a poem (read: creation, poêsis). To work on representation was the great leap he made to the Holy one – and yet he had the same tool (instrument) as his (people?) […] to build images of the world and make an act (some read fact – actumfactum) on it according to the omen of representation. He therefore needed not tables, signs, dance, music, to see the world in himself. […] temple of the axe for sacri(ficial) […] but his peoples’ tools were those great arts and comédies of action. To function less with language was the Jewish people’s representation of the greatness of the world. and that their dialect is to be fully completed.”



O wort du wort dir ich fehle – O wort, du wort dir – speak as I create!

das mir fehlt: which I missed, which I sinned, the mark of failure is one on me.

Schoenberg didn’t finish Moses und Aron because he knew that words could go beyond what music brings: music does not teach. Yet how does one guide through music? He who guided music so greatly, yet fell in front of the weight of the stone book. The beautiful, holy mountain.

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