Abstract
This paper reconsiders the first postwar generation Bernd Alois Zimmermann’s notion
of time from the perspective of the intersection of philosophical, literary, and musical
spectrum to reveal the composer’s latent aesthetics. Zimmermann studies in the 80s
defined his philosophy of time as encapsulated by Kugelgestalt der Zeit that can make
past, present, and future interchangeable and simultaneously disposed. This concept
is incorporated in his late works in the form of collage, pluralistic compositional
technique. Previous studies mainly focus on its structural analysis, but calling such
methodology into question, this paper scrutinizes its semantic value by disclosing his
philosophy of time theorizes criticism of society and human existence.
The first section examines his absorption of phenomenological time with a focus on
eine ständige Gegenwart. The task here is to clarify that his philosophy of time entails
an element of ontology. Then referring to Zimmermann’s writings on Die Soldaten, the
second section points out the influence of J. M. R. Lenz’s “open form” of drama. This
verifies his philosophy of time has something to do with encouraging the listener to
think critically against social absurdities. Based on the composer’s historical awareness,
the last section argues pluralism in Zimmermann’s aesthetics represents historical
pluralism.
