We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 21 March 2018
Around 1800 a group of critics worried that new music was in danger of losing its social relevance. In their eyes music had become severed from the religious practices which had formerly provided its purpose and now exhibited a mercurial style that threatened its intelligibility, leading to a host of anxieties about its role in the contemporary world. This article argues that these concerns form the basis of an elegiac discourse of musical modernity, one resonating with broader philosophical concerns of the period. Taking Hoffmann's ‘Alte und neue Kirchenmusik’ as the central text, my narrative explores how he and others sought to rehabilitate modern music in the wake of a perceived social upheaval. This rehabilitation chiefly occurred at the hands of critics, who approached the complexities of new musical works by attempting to elucidate them through analysis. Hoffmann's review of Beethoven's Fifth Symphony belongs in this narrative as a characteristic attempt to secure new music's meaning.
This article has benefited from the invaluable feedback of the editors and the anonymous reviewers of this journal, as well as from the sharp eyes of Roger Mathew Grant, Michael Puri and Richard Will. I am also indebted to Amy Coddington, Jarek Ervin and Stephanie Gunst for all their help along the way. Unless otherwise indicated, all translations are my own.
1 Hoffmann, E. T. A., E. T. A. Hoffmann's Musical Writings, ed. Charlton, David, trans. Clarke, Martyn (Cambridge: Cambridge University Press, 1989), 353 Google Scholar; Hoffmann, E. T. A., Schriften zur Musik, Nachlese, ed. Schnapp, Friedrich (Munich: Winkler, 1963), 210 Google Scholar. The article was originally published in Allgemeine musikalische Zeitung 16 (1814), 577–584, 593–603. For other comparisons of music to puppetry see Pluche, Noël-Antoine, ‘From “The Spectacle of Nature” (1746)’, in Music and Culture in Eighteenth-Century Europe: A Source Book, ed. Fubini, Enrico and Blackburn, Bonnie, trans. Freis, Wolfgang, Gasbarrone, Lisa and Leone, Michael Louis (Chicago: University of Chicago Press, 1994), 79–83 Google Scholar, and Kleist, Heinrich von, ‘Über das Marionettentheater’, Berliner Abendblätter 1 (1810), 247–249, 251–253, 255–256, 259–261.Google Scholar
2 Hoffmann, E. T. A. Hoffmann's Musical Writings, 357; Hoffmann, Schriften zur Musik, Nachlese, 214.
3 The review was originally published in Allgemeine musikalische Zeitung 12 (1810), 630–642, 652–659.
4 Berger, Karol, Bach's Cycle, Mozart's Arrow: An Essay on the Origins of Musical Modernity (Berkeley: University of California Press, 2007), 4–5.CrossRefGoogle Scholar
5 Forkel, Johann Nikolaus, Allgemeine Geschichte der Musik (Leipzig: Schwickert, 1788), 1–68 Google Scholar. For more on Forkel's conception of music history see chapter 4 of Riley, Matthew, Musical Listening in the German Enlightenment (Aldershot: Ashgate, 2004).Google Scholar
6 Hoffmann, E. T. A. Hoffmann's Musical Writings, 105; E. T. A. Hoffmann, E. T. A. Hoffmanns Musikalische Schriften, ed. Edgar Istel (Stuttgart: Greiner und Pfeiffer, 1906), 96.
7 For significant accounts see Berger, Karol, A Theory of Art (Oxford: Oxford University Press, 2000)Google Scholar and Chua, Daniel, Absolute Music and the Construction of Meaning (Cambridge: Cambridge University Press, 1999).CrossRefGoogle Scholar
8 For more on the Aufklärung see Schmidt, James, ‘Introduction: What Is Enlightenment? A Question, Its Context, and Some Consequences’, in What Is Enlightenment?: Eighteenth-Century Answers and Twentieth-Century Questions, ed. Schmidt, James (Berkeley: University of California Press, 1996), 1–44 Google Scholar. A classic political account of the period can be found in Hobsbawm, Eric, The Age of Revolution 1789–1848 (New York: Vintage, 1996)Google Scholar.
9 Habermas, Jürgen, The Philosophical Discourse of Modernity, trans. Lawrence, Frederick (Cambridge: Polity, 1987), 16–19.Google Scholar
10 Beiser, Frederick, The Romantic Imperative: The Concept of Early German Romanticism (Cambridge, MA: Harvard University Press, 2003), 30–35.Google Scholar
11 For an account of Kant's immediate philosophical influence see Förster, Eckart, The Twenty-Five Years of Philosophy, trans. Bowman, Brady (Cambridge, MA: Harvard University Press, 2012).CrossRefGoogle Scholar
12 Beiser, The Romantic Imperative, 53.
13 Schiller, Friedrich, ‘Letters on the Aesthetic Education of Man’, trans. Wilkinson, Elizabeth and Willoughby, L. A., in Friedrich Schiller: Essays, ed. Hinderer, Walter and Dahlstrom, Daniel (New York: Continuum, 1993), 100.Google Scholar
14 Schiller, ‘Letters on the Aesthetic Education of Man’, 89. Original italics.
15 Bernstein, J. M., The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno (University Park: Pennsylvania State University Press, 1992), 1–10.Google Scholar
16 Claiming modern art's obsolescence is a tradition almost as old as Continental philosophy itself. See Geulen, Eva, The End of Art: Readings in a Rumor after Hegel, trans. McFarland, James (Stanford: Stanford University Press, 2006)Google Scholar. For the remainder of the article I use the terms ‘Classical’ and ‘Romantic’ in their Hegelian formulation.
17 Rose, Gillian, Hegel Contra Sociology (London: Verso, 2009), 135 Google Scholar. For an account of Hegel's historical theory of aesthetics see Pinkard, Terry, ‘Symbolic, Classical, and Romantic Art’, in Hegel and the Arts, ed. Houlgate, Stephen (Evanston, IL: Northwestern University Press, 2007), 3–28 Google Scholar. My discussion is also indebted to chapter 1 of Pippin, Robert B., After the Beautiful: Hegel and the Philosophy of Pictorial Modernism (Chicago: University of Chicago Press, 2014).Google Scholar
18 Hegel, G. W. F., Aesthetics: Lectures on Fine Art, trans. Knox, T. M., two volumes, volume 1 (Oxford: Oxford University Press, 1975), 437 Google Scholar. observes, Pinkard, ‘The elegiac nostalgia for Greek life – beautiful, lost and irrecoverable – was a weighty feature of the intellectual atmosphere of Hegel's time.’ Pinkard, Terry, Hegel's Phenomenology: The Sociality of Reason (Cambridge: Cambridge University Press, 1994), 134.Google Scholar
19 Hegel, Aesthetics, volume 1, 10–11.
20 As Pinkard states, ‘The inadequacy of art to capture this self-understanding for us is, paradoxically, not the metaphysical inadequacy of art itself to get at a deeper truth, but a change in the status of “we moderns” who find it inadequate to ourselves as we have come to be’. Pinkard, ‘Symbolic, Classical, and Romantic Art’, 21.
21 Hegel, Aesthetics, volume 1, 80.
22 Hegel, Aesthetics, volume 1, 11. Original italics.
23 Winckelmann, Johann Joachim, History of the Art of Antiquity, ed. Potts, Alex, trans. Mallgrave, Harry (Los Angeles: Getty Research Institute, 2006), 351.Google Scholar
24 Friedrich Schiller, ‘On Naive and Sentimental Poetry’, trans. Daniel O. Dahlstrom, in Essays, ed. Hinderer and Dahlstrom, 204.
25 Hegel, Aesthetics, volume 1, 605. For a trenchant analysis of Hegel's claim see Pippin, After the Beautiful, 42–43.
26 Moritz, Karl Philipp, Ueber die bildende Nachahmung des Schönen (Braunschweig: Schul-Buchhandlung, 1788).Google Scholar
27 Beiser, Frederick, Schiller as Philosopher (Oxford: Clarendon, 2005), 219–224 CrossRefGoogle Scholar. See also Henrich, Dieter, ‘Beauty and Freedom: Schiller's Struggle with Kant's Aesthetics’, in Essays in Kant's Aesthetics, ed. Cohen, Ted and Guyer, Paul, trans. Lachterman, David R. (Chicago: University of Chicago Press, 1982), 237–257.Google Scholar
28 Schiller, Friedrich, ‘Kallias or Concerning Beauty: Letters to Gottfried Körner’, trans. Bird-Pollan, Stefan, in Classic and Romantic German Aesthetics, ed. Bernstein, J. M. (Cambridge: Cambridge University Press, 2003), 155 Google Scholar. Original italics.
29 Schiller, ‘Kallias or Concerning Beauty’, 169.
30 Schiller, ‘Kallias or Concerning Beauty’, 171–172. Original italics.
31 Friedrich Schlegel, ‘Athenaeum Fragments’, trans. Peter Firchow, in Classic and Romantic German Aesthetics, ed. Bernstein, 249.
32 Friedrich Schlegel, ‘Letter About the Novel’, trans. Ernst Behler and Roman Struc, in Classic and Romantic German Aesthetics, ed. Bernstein, 293. See also Behler, Ernst, German Romantic Literary Theory (Cambridge: Cambridge University Press, 1993), 177.CrossRefGoogle Scholar
33 Friedrich Schlegel, ‘On Goethe's Meister’, trans. Peter Firchow, in Classic and Romantic German Aesthetics, ed. Bernstein, 275.
34 Schlegel, ‘On Goethe's Meister’, 276–277.
35 Others have observed themes of modern aesthetic alienation in Hoffmann's literary works. See Schönherr, Ulrich, ‘Social Differentiation and Romantic Art: E. T. A. Hoffmann's “The Sanctus” and the Problem of Aesthetic Positioning in Modernity’, New German Critique 66 (1995), 3–17.CrossRefGoogle Scholar
36 Hoffmann, E. T. A. Hoffmann's Musical Writings, 353; Hoffmann, Schriften zur Musik, Nachlese, 209–210.
37 Hoffmann's conception of modern opera merits further study. His own compositional focus on operatic works and his laudatory review of Spontini's Olimpia suggest a deeper claim to the legitimacy of opera as a romantic art form. See Hoffmann, E. T. A. Hoffmann's Musical Writings, 431–446. For context on Hoffmann's operas see chapter 5 of Chantler, Abigail, E. T. A. Hoffmann's Musical Aesthetics (Aldershot: Ashgate, 2006).Google Scholar
38 Hoffmann was treading a well-worn path when he claimed that modern church music was inadequate. For instance, in 1801 Triest stated, ‘In a word, sacred music is no longer a thing that exists in its own right’. Friedrich Triest, Johann Karl, ‘Remarks on the Development of the Art of Music in Germany in the Eighteenth Century’, in Haydn and His World, ed. Sisman, Elaine, trans. Gillespie, Susan (Princeton: Princeton University Press, 1997), 359 Google Scholar. Decades earlier Johann Friedrich Reichardt and Johann Adam Hiller had also offered critiques of modern church music. See Ottenberg, Hans-Günter, Carl Philipp Emanuel Bach, trans. Whitmore, Philip J. (Oxford: Oxford University Press, 1987), 110–111.Google Scholar
39 Hoffmann, Schriften zur Musik, Nachlese, 210; Hoffmann, E. T. A. Hoffmann's Musical Writings, 353–354.
40 Hoffmann, E. T. A. Hoffmann's Musical Writings, 370; Hoffmann, Schriften zur Musik, Nachlese, 227. For more on Hoffmann's religious views see Chapin, Keith, ‘Lost in Quotation: The Nuances behind E. T. A. Hoffmann's Programmatic Statements’, 19th-Century Music 30/1 (2006), 49–52.CrossRefGoogle Scholar
41 Hoffmann invokes France as exemplifying this decay, which, as Stephen Rumph points out, resonates with political events of the time. Rumph, Stephen, ‘A Kingdom Not of This World: The Political Context of E. T. A. Hoffmann's Beethoven Criticism’, 19th-Century Music 19/1 (1995), 55–58.CrossRefGoogle Scholar
42 A paradigmatic idealization of medieval Europe may be found in Novalis, ‘Christendom or Europe’, in Novalis: Philosophical Writings, trans. Margaret Mahony Stoljar (Albany: State University of New York Press, 1997), 137–152.
43 Hoffmann, Schriften zur Musik, Nachlese, 213; Hoffmann, E. T. A. Hoffmann's Musical Writings, 356. Tieck rhapsodized about Palestrina's age in Ludwig Tieck, Phantasus: eine Sammlung von Mährchen, Erzählungen, Schauspielen und Novellen, three volumes, volume 1 (Berlin: Realschulbuchhandlung, 1812), 466–468.
44 Hoffmann, Schriften zur Musik, Nachlese, 215.
45 Tieck, Phantasus, volume 1, 471.
46 Hoffmann, E. T. A. Hoffmann's Musical Writings, 358–360; Hoffmann, Schriften zur Musik, Nachlese, 216–218. Hoffmann's conception of Palestrina's style elaborates themes presented by earlier critics, such as Johann Friedrich Reichardt, and his insights were mediated by the limited availability of Palestrina's works at the time. See Garratt, James, Palestrina and the German Romantic Imagination (Cambridge: Cambridge University Press, 2002), 43.CrossRefGoogle Scholar
47 Senner, Wayne M. and Meredith, William, eds, The Critical Reception of Beethoven's Compositions by His German Contemporaries, trans. Wallace, Robin, three volumes, volume 2 (Lincoln: University of Nebraska Press, 2001), 197 Google Scholar; Wendt, Amadeus, ‘Gedanken über die neuere Tonkunst, und van Beethovens Musik, namentlich dessen Fidelio’, Allgemeine musikalische Zeitung 17 (1815), 682–683 Google Scholar. Wendt discusses old music earlier on in Wendt, Amadeus, ‘Von dem Einfluss der Musik auf den Charakter’, Allgemeine musikalische Zeitung 11 (1808), 81–90, 97–103.Google Scholar For more on the period conceptions of folk music see Gelbart, Matthew, The Invention of ‘Folk Music’ and ‘Art Music’: Emerging Categories from Ossian to Wagner (Cambridge: Cambridge University Press, 2007).CrossRefGoogle Scholar
48 Michaelis, Christian Friedrich, Ueber den Geist der Tonkunst und andere Schriften (Chemnitz: Gudrun Schröder, 1997), 240 Google Scholar. The article was originally published in Berlinische musikalische Zeitung 1/38 (1805), 149–150.
49 Wendt also describes old music as having ‘the appearance of following a predetermined plan’. To him Haydn was a transitional figure, displaying both pre-modern and modern compositional tendencies. Senner and Meredith, The Critical Reception of Beethoven's Compositions, volume 2, 197.
50 Scheibe, Johann Adolph, Critischer Musikus, expanded edition (Leipzig: Breitkopf, 1745), 134 Google Scholar; translation adapted from Mirka, Danuta, ‘Introduction’, in The Oxford Handbook of Topic Theory, ed. Mirka, Danuta (New York: Oxford University Press, 2014), 5 Google Scholar. For more on Scheibe's criticism see Wilson, Dora, ‘Johann Adolph Scheibe's Views on Opera and Aesthetics’, The Opera Quarterly 2/2 (1984), 49–56.CrossRefGoogle Scholar For a discussion of national styles in mid-century music criticism see chapter 3 of Morrow, Mary Sue, German Music Criticism in the Late Eighteenth Century (Cambridge: Cambridge University Press, 1997 CrossRefGoogle Scholar).
51 The elegiac moderns’ perception that the musical era of Haydn, Mozart and Beethoven was intrinsically experimental is a position espoused by Webster, James in ‘Between Enlightenment and Romanticism in Music History: “First Viennese Modernism” and the Delayed Nineteenth Century’, 19th-Century Music 25/2–3 (2001–2002), 108–126.CrossRefGoogle Scholar
52 Dahlhaus, Carl, The Idea of Absolute Music, trans. Lustig, Roger (Chicago: University of Chicago Press, 1989), 10–11.Google Scholar
53 Here I follow the argument in Littlejohns, Richard, ‘Iniquitous Innocence: The Ambiguity of Music in the Phantasien über die Kunst (1799)’, in Music and Literature in German Romanticism, ed. Donovan, Siobhán and Elliott, Robin (New York: Camden House, 2004), 1–12.Google Scholar
54 Tieck, Phantasus, volume 1, 468–469. Over a century later, Theodor Adorno concedes the force of Tieck's bleak conclusion about the music of the period with the same mythical reference: ‘Beethoven – his language, his substance and tonality in general, that is, the whole system of bourgeois music – is irrecoverably lost to us, and is perceived only as something vanishing from sight. As Eurydice was seen. Everything must be understood from that viewpoint’. Adorno, Theodor, Beethoven: The Philosophy of Music, ed. Tiedemann, Rolf, trans. Jephcott, Edmund (Stanford: Stanford University Press, 1998), 6 Google Scholar. Original italics.
55 For example, see Chua, Absolute Music, 71–72.
56 Tieck, Ludwig and Wackenroder, Wilhelm Heinrich, Phantasien über die Kunst, für Freunde der Kunst (Hamburg: F. Perthes, 1799), 200–201 Google Scholar; translation adapted from Wackenroder, Wilhelm Heinrich, Confessions and Fantasies, trans. Schubert, Mary Hurst (University Park: Pennsylvania State University Press, 1971), 193.Google Scholar
57 Richter, Jean Paul, Horn of Oberon: Jean Paul Richter's School for Aesthetics, trans. Hale, Margaret (Detroit: Wayne State University Press, 1973), 93–94 Google Scholar; Richter, Jean Paul, Vorschule der Aesthetik, two volumes, volume 1 (Vienna: Gräffer und Härter, 1815), 152.Google Scholar
58 Neubauer, John, The Emancipation of Music from Language: Departure from Mimesis in Eighteenth-Century Aesthetics (New Haven: Yale University Press, 1986).Google Scholar
59 Hoffmann, E. T. A. Hoffmann's Musical Writings, 373; Hoffmann, Schriften zur Musik, Nachlese, 232.
60 Hoffmann, E. T. A. Hoffmann's Musical Writings, 370–371; Hoffmann, Schriften zur Musik, Nachlese, 227–228.
61 Hoffmann, E. T. A. Hoffmann's Musical Writings, 355; Hoffmann, Schriften zur Musik, Nachlese, 212.
62 Hoffmann, Schriften zur Musik, Nachlese, 230.
63 Berger, A Theory of Art, 137. Dahlhaus similarly argues that the metaphysical essence of music had fled from religious works and then opera, only to empower the symphony in Beethoven's time. See Dahlhaus, Carl, Klassische und romantische Musikästhetik (Laaber: Laaber, 1988), 111–121.Google Scholar The interpretation resurfaces in Garratt, Palestrina and the German Romantic Imagination, 54–55.
64 Hoffmann, E. T. A., Die Serapions-Brüder: Gesammelte Erzählungen und Märchen, four volumes, volume 2 (Berlin: Reimer, 1819), 359–385 Google Scholar. For a discussion on the function of the ‘Alte und neue Kirchenmusik’ section within the book see chapter 4 of Brown, Hilda M., E. T. A. Hoffmann and the Serapiontic Principle (Rochester: Camden House, 2006).Google Scholar
65 Hoffmann, E. T. A. Hoffmann's Musical Writings, 425–426; Hoffmann, Schriften zur Musik, Nachlese, 344. The article was originally published in Allgemeine Zeitung für Musik und Musikliteratur 1/2–3 (1820).
66 A seminal account of the Hauptsatz may be found in Sulzer, Johann Georg, Allgemeine Theorie der schönen Künste, four volumes, volume 2 (Leipzig: Weidmann, 1792), 488 Google Scholar. On its broader influence see Bonds, Mark Evan, Wordless Rhetoric: Musical Form and the Metaphor of the Oration (Cambridge, MA: Harvard University Press, 1991), 90–102 CrossRefGoogle Scholar. On period conceptualizations of musical form in compositional treatises see Burnham, Scott, ‘Form’, in The Cambridge History of Western Music Theory, ed. Christensen, Thomas (Cambridge: Cambridge University Press, 2002), 881–883.Google Scholar
67 Michaelis, Ueber den Geist der Tonkunst und andere Schriften, 278.
68 As Matthew Pritchard observes, the term ‘character’ travelled around quite a bit outside of musical discourse prior to Körner, such as in neoclassical writings on comedy and satire. See Pritchard, Matthew, ‘“The Moral Background of the Work of Art”: “Character” in German Musical Aesthetics, 1780–1850’, Eighteenth-Century Music 9/1 (2012), 65–67.Google Scholar
69 See Robert Riggs's introduction to Körner, Christian Gottfried, ‘“On the Representation of Character in Music”: Christian Gottfried Körner's Aesthetics of Instrumental Music’, trans. Riggs, Robert, The Musical Quarterly 81/4 (1997), 601–602 Google Scholar. In his third Critique Kant infamously deemed music ‘more enjoyment than culture’. See §53 of Kant, Immanuel, Critique of the Power of Judgment, ed. Guyer, Paul, trans. Guyer, Paul and Matthews, Eric (Cambridge: Cambridge University Press, 2000), 205–206 CrossRefGoogle Scholar. Schiller initially dismisses modern music as something that ‘flatters the reigning taste that wants only to be pleasantly titillated, and not to be taken hold of, not to be powerfully moved, not to be ennobled’ in Friedrich Schiller, ‘On the Pathetic’, trans. Daniel O. Dahlstrom, in Essays, ed. Hinderer and Dahlstrom, 48–49. He more or less restores its aesthetic power to that of poetry and sculpture a few years later in Friedrich Schiller, ‘Letters on the Aesthetic Education of Man’, in Essays, 150.
70 For a restatement of this claim see von Weiler, G., ‘Ueber den Begriff der Schönheit, als Grundlage einer Aesthetik der Tonkunst’, Allgemeine musikalische Zeitung 13/7 (1811), 121.Google Scholar
71 Körner, ‘“On the Representation of Character in Music”’, 621; Körner, Christian Gottfried, Ästhetische Ansichten: Ausgewählte Aufsätze, ed. Bauke, Joseph P. (Marbach: Schiller-Nationalmuseum, 1964), 41–42.Google Scholar
72 Matthew Pritchard, ‘“The Moral Background of the Work of Art”’, 67–70.
73 Fleischmann, Friedrich, ‘Wie muss ein Tonstück beschaffen seyn, um gut genannt werden zu können? – Was ist erforderlich zu einem vollkommenen Komponisten?’, Allgemeine musikalische Zeitung 1 (1799), 213 Google Scholar. Friedrich Kanne states as much a few decades later in his extensive serialized essay on musical unity. See Kanne, ‘Der Zauber der Tonkunst: Einheit’, Allgemeine musikalische Zeitung, mit besonderer Rücksicht auf den österreichischen Kaiserstaat 5 (1821), 569.
74 Adapted from Senner and Meredith, The Critical Reception of Beethoven's Compositions, volume 2, 199; Wendt, ‘Gedanken über die neuere Tonkunst’, 385. Original italics.
75 Senner and Meredith, The Critical Reception of Beethoven's Compositions, volume 2, 197. Wendt, ‘Gedanken über die neuere Tonkunst’, 382.
76 Gerber, Ernst Ludwig, ‘Eine freundliche Vorstellung über gearbeitete Instrumentalmusik, besonders über Symphonien’, Allgemeine musikalische Zeitung 15 (1813), 457–458 Google Scholar; translation adapted from Webster, James, Haydn's ‘Farewell’ Symphony and the Idea of Classical Style (Cambridge: Cambridge University Press, 1991), 180.CrossRefGoogle Scholar
77 Adapted from Sisman, Elaine, Haydn and the Classical Variation (Cambridge, MA: Harvard University Press, 1993), 236 Google Scholar; Michaelis, Christian Friedrich, ‘Ueber die musikalische Wiederholung und Veränderung’, Allgemeine musikalische Zeitung 6 (1803), 200.Google Scholar
78 In his introduction Michaelis recalls Neefe's earlier criticism of musical repetition. See Neefe, Christian Gottlob, ‘Über die musikalische Wiederholung’, Deutsches Museum 2 (1776), 745–751.Google Scholar
79 Adapted from Sisman, Haydn and the Classical Variation, 236; Michaelis, ‘Ueber die musikalische Wiederholung und Veränderung’, 200.
80 See Saslaw, Janna K., ‘The Concept of Ausweichung in Music Theory, ca. 1770–1832’, Current Musicology 75 (2003), 145–163.Google Scholar
81 Kanne, ‘Der Zauber der Tonkunst: Einheit’, 570.
82 Kanne, ‘Der Zauber der Tonkunst: Einheit’, 577. Gottfried Wilhelm Fink seems to have followed Kanne's criteria in his critiques of Schubert's modulations a few years later. See Clark, Suzannah, Analyzing Schubert (Cambridge: Cambridge University Press, 2011), 67.CrossRefGoogle Scholar
83 Kanne, ‘Der Zauber der Tonkunst: Einheit’, 570.
84 Hoffmann, E. T. A. Hoffmann's Musical Writings, 158; Hoffmann, E. T. A. Hoffmanns musikalische Schriften, ed. Istel, 145.
85 Commentaries on the review are legion. For a discussion of its relation to nineteenth-century analytical traditions see Bent, Ian, ed., Music Analysis in the Nineteenth Century, two volumes, volume 2: Hermeneutic Approaches (Cambridge: Cambridge University Press, 1994), 141–144 CrossRefGoogle Scholar, and Bent, Ian, ‘Plato – Beethoven: A Hermeneutics for Nineteenth-Century Music?’, Indiana Theory Review 16 (1995), 1–33 Google Scholar. For a consideration of it alongside Marx's, A. B. and Berlioz's reviews of the symphony see chapter 5 of Robin Wallace, Beethoven's Critics (Cambridge: Cambridge University Press, 1986)Google Scholar. For its relation to German idealist philosophy see chapter 3 of Bonds, Mark Evan, Music as Thought: Listening to the Symphony in the Age of Beethoven (Princeton: Princeton University Press, 2006)Google Scholar. For a general discussion of Hoffmann as a reviewer of Beethoven's works in the Allgemeine musikalische Zeitung see Schnaus, Peter, E. T. A. Hoffmann als Beethoven-Rezensent der Allgemeine musikalische Zeitung (Munich: Katzbichler, 1977)Google Scholar. Hoffmann also reuses parts of the review with parts from his later review of Beethoven's Op. 70 piano trios in the Kreisleriana section entitled ‘Beethovens Instrumental-musik’ from his first book, Fantasiestücke in Callot's Manier (Bamberg: C. F. Kunz, 1819). See Hoffmann, E. T. A. Hoffmann's Musical Writings, 23–25.
86 Dahlhaus describes the review both as the founding document of musical romanticism and as a watershed moment in the history of music analysis. See Dahlhaus, Carl, Die Musiktheorie im 18. und 19. Jahrhundert, ed. Müller, Ruth E., two volumes, volume 2 (Darmstadt: Wissenschaftliche Buchgesellschaft, 1989), 227–231.Google Scholar
87 Watkins, Holly, Metaphors of Depth in German Musical Thought: From E. T. A. Hoffmann to Arnold Schoenberg (Cambridge: Cambridge University Press, 2011), 44.CrossRefGoogle Scholar
88 Hoffmann, E. T. A. Hoffmann's Musical Writings, 239; Hoffmann, Schriften zur Musik, Nachlese, 37.
89 Hoffmann, Schriften zur Musik, Nachlese, 43; translation adapted from Hoffmann, E. T. A. Hoffmann's Musical Writings, 244.
90 Wallace, Beethoven's Critics, 140.
91 Hoffmann, E. T. A. Hoffmann's Musical Writings, 249; Hoffmann, Schriften zur Musik, Nachlese, 48.
92 On the political context of Hoffmann's interpretation see Rumph, ‘A Kingdom Not of This World’, 61–65.
93 Hoffmann, Schriften zur Musik, Nachlese, 51.
