ABSTRACT
The disruption of the word 'Hosianna' is typical of Celan's middle period, and categories such as interruption, fragmentation and disintegration recur insistently in the nomenclature of Celan scholarship. 'Engfuhrung', an extensive poem in nine sections written between June 1957 and November 1958, is considered by many to be Celan's chef-d'oeuvre. Szondi's stipulation of this law according to which music and meaning are mutually exclusive and music only approachable by means of analysis, not by means of hermeneutic construal is a precise emulation of the formalist presuppositions of modernist musicology. Still predominant to the point of hegemony at the time when Szondi wrote his essay, this conception of music effectively prohibits the interpretation of music as involved in an economy of meaning, as referring to or interacting with cultural, social or historical realities. Celan's insistent repetition of 'Jahre' stresses the importance of time and history.
