The First Four Notes: Beethoven's Fifth and the Human Imagination (41 page)

 74
. See Sheila Melvin and Jindong Cai,
Rhapsody in Red: How Western Classical Music Became Chinese
(New York: Algora Publishing, 2004), pp. 231–34.

 75
. Ibid., p. 266.

 76
. This particular power struggle was Jiang Qing’s yearlong “Criticize Lin, Criticize
Confucius” movement, the “Lin” being Lin Biao, the former army chief who had died
in a 1971 plane crash, apparently fleeing a failed anti-Mao coup, and the ancient
Chinese sage Confucius being recast as a reactionary who supported landowners against
the centralized control of Shang Yang during the Qin dynasty.

 77
. Xiyun Yang, “U.S. Orchestra Performs in China, in Echoes of 1973,”
The New York Times
, May 7, 2010.

 78
. Melvin and Cai,
Rhapsody in Red
, p. 286.

 79
. “Beethoven’s 5th—Courtesy of the Police.”
Hong Kong Human Rights Monitor Newsletter
(July 1997). At
http://​www.​hkhrm.​org.​hk/​english/​reports/​enw/​enw0797a.​htm
.

 80
. Leon Trotsky, “In ‘Socialist’ Norway” (1936),
http://​www.​marxists.​org/​archive/​trotsky/​1936/​12/​nor.​htm
.

 81
. Leon Trotsky,
My Life: An Attempt at an Autobiography
(New York: Charles Scribner’s Sons, 1930), p. 581.

 82
. Friedrich Nietzsche,
On the Genealogy of Morals and Ecce Homo
, Walter Kaufmann and R. J. Hollingdale, trans. (New York: Vintage Books, 1989), p.
258.

 83
. Nietzsche,
The Gay Science
, Walter Kaufmann, trans. (New York: Vintage Books, 1974), pp. 273–74.

 84
. Nietzsche,
Thus Spoke Zarathustra
, R. J. Hollingdale, trans. (London: Penguin Books, 2003), pp. 178–79.

 85
. Peter Hallward,
Out of This World: Deleuze and the Philosophy of Creation
(London: Verso, 2006), p. 54.

 86
. Nietzsche,
Twilight of the Idols and The Anti-Christ
, R. J. Hollingdale, trans. (London: Penguin Books, 1990), p. 65.

 87
. Nietzsche,
Human, All Too Human
, R. J. Hollingdale, trans. (Cambridge University Press, 1986), p. 281.

 88
. Joachim Köhler,
Richard Wagner: Last of the Titans
, Stewart Spencer, trans. (Yale University Press, 2004), p. 508.

 89
. As translated by Malcolm Brown in his online
Nietzsche Chronicle
(
http://​www.​dartmouth.​edu/​~fnchron/​1872.​html
).

 90
. Nietzsche,
On the Genealogy of Morals and Ecce Homo
, Walter Kaufmann and R. J. Hollingdale, trans. (New York: Vintage Books, 1989), p.
247.

 91
. Nietzsche,
Human, All Too Human
, pp. 97–98.

 92
. Ibid., pp. 99, 100.

 93
. Nietzsche,
Untimely Meditations
, R. J. Hollingdale, trans.; Daniel Breazeale, ed. (Cambridge University Press, 1997),
p. 91.

 94
. As translated in Fritz Stern,
The Varieties of History
(New York: Meridian Books, 1956), p. 57.

 95
. Nietzsche,
Untimely Meditations
, p. 91.

 96
. Ibid., p. 92.

 97
. The quotation comes from Leopold von Ranke,
Fürsten und völker von Süd-Europa
, vol. 2 (Berlin: Duncker und Humblot, 1834), p. 34.

 98
. Nietzsche,
Untimely Meditations
, p. 105.

 99
. Ibid., p. 97.

100
. Ibid., p. 93.

101
. Nietzsche,
Human, All Too Human
, p. 243.

102
. Münzer,
Mademoiselle
, pp. 129–30. (
“Von neuem klang das geheimnisvolle, strenge, drohende Motiv auf. Unvorgeschriebene
Dissonanzen erhöhten seine Schauerlichkeit.… ‘Ich weiß nicht,’ sagte aber da ihr harmloser
Gatte. ‘Mir klingt es mehr falsch als sozusagen pikant.’ ‘Adolf,’ rief die Justizrätin
entrüstet, ‘das ist eben das Unglück deiner einseitigen juristischen Ausbildung. Du
hast nie etwas für deine musikalische Erziehung getan. Jetzt rächt es sich und du
vermagst nicht, der künstlerischen Einsicht deiner Familie zu folgen.’ Der Schluß
des ersten Satzes übertraf den vom Mittag noch um ein beträchtliches an ungelöster
Dissonanz, denn diesmal spielte das Fräulein richtig, und nur Eduard geriet plötzlich
in Fis-dur hinein. Der Justizrat zuckte empfindlich zusammen und stöhnte hörbar, aber
die Justizrätin wand sich sozusagen vor Wonne und sagte im Tone tiefster Verachtung:
‘Richard Strauß!!’ ”
)

103
. Ibid., p. 132. Ellipsis in the original. (“Da
lächelte sie und öffnete leise, gütig und liebevoll die unverschlossene Tür des Knabenzimmers.…
”)

  1
. Karl Marx, “Neumodische Romantik,” in Karl Marx and Frederick Engels,
Marx-Engels-Gesamtausgabe
, I. Abteilung, Band 1 (Berlin: Dietz Verlag, 1975), p. 675. (
“Das Kind, das, wie ihr wißt, an Göthe schreib, / Und ihm weis machen wollt’, er hab’
sie lieb, / Das Kind war einst im Theater zugegen, / ‘ne
Uniform thut sich bewegen. / Es blickt zu ihr gar freundlich lächelnd hin: / ‘Bettina
wünscht, mein Herr, in ihrem Sinn, / Das Lockenhaupt an sie zu lehnen, / Gefaßt von
wundersamem Sehnen.’ / Die Uniform erwiedert gar trocken drauf: / ‘Bettina laß dem
Willen seinen Lauf!’ / ‘Recht, spricht sie, weißt du wohl, mein Mäuschen, / Auf meinem
Kopf giebts keine Läuschen!’ ”
)

  2
. As translated in Maynard Solomon, “Beethoven’s Tagebuch of 1812–1818,” in
Beethoven Studies 3
, Alan Tyson, ed. (Cambridge University Press, 1982), p. 261.

  3
. Immanuel Kant,
The Critique of Judgement
, James Creed Meredith, trans. (Oxford: Clarendon Press, 1952), p. 60.

  4
. Ibid., p. 89.

  5
. Ibid., p. 82.

  6
. For a particularly good analysis of this idea, see James Kirwan,
The Aesthetic in Kant: A Critique
(London: Continuum, 2004).

  7
. Frederick C. Beiser,
The Fate of Reason: German Philosophy from Kant to Fichte
(Harvard University Press, 1987), pp. 19–20.

  8
. Quoted in Isaiah Berlin,
The Magus of the North: J. G. Hamann and the Origins of Modern Irrationalism
(London: John Murray, 1993), p. 20.

  9
. J. G. Hamann, “Aesthetica in nuce: A Rhapsody in Cabbalistic Prose,” Joyce P. Crick,
trans., in
Classic and Romantic German Aesthetics
, J. M. Bernstein, ed. (Cambridge University Press, 2003), p. 13.

 10
. Ibid., p. 4.

 11
. Quoted in Berlin,
The Magus of the North
, p. 99.

 12
. Quoted in Oscar Sonneck,
Beethoven: Impressions by His Contemporaries
(New York: Dover Publications, 1967), p. 49.

 13
. Eric A. Blackall,
The Novels of the German Romantics
(Cornell University Press, 1983), p. 236.

 14
. John H. Finley,
Four Stages of Greek Thought
(Stanford University Press, 1966), pp. 3–4.

 15
. Dennis Ford,
The Search for Meaning: A Short History
(University of California Press, 2008), p. 30.

 16
. Michael P. Steinberg,
Listening to Reason: Culture, Subjectivity, and Nineteenth-Century Music
(Princeton University Press, 2004), p. 71.

 17
. William Goldman,
Adventures in the Screen Trade
(New York: Warner Books, 1983), p. 134.

 18
. Ralph Waldo Emerson, “Heroism,” in
The Complete Works of Ralph Waldo Emerson
, vol. 2 (Boston: Houghton, Mifflin and Company, 1903–04), p. 250.

 19
. See Owen Jander, “The Prophetic Conversation in Beethoven’s ‘Scene by the Brook,’ ”
The Musical Quarterly
77, no. 3 (Autumn 1993): 508–59.

 20
. See Raymond Knapp, “A Tale of Two Symphonies: Converging Narrative of Divine Reconciliation
in Beethoven’s Fifth and Sixth,”
Journal of the American Musicological Society
53, no. 2 (Summer 2000): 291–343.

 21
. Hoffmann’s habit of cherry-picking to suit his Romanticism is the most common criticism
of his review of the Fifth. Robin Wallace refers to the “almost irrational consistency”
of Hoffmann’s focus on the kingdom of the infinite, saying that Hoffmann’s “foremost
aim was always to explain how the music worked upon his emotions, and he chose to
do so as directly as possible, even when that meant overlooking important passages
in favor of those which suited him best.” And Abigail Chantler notes how Hoffmann
isolated and rhetorically amplified certain features of the symphony—the somewhat
unusual key relationships in the Andante, the use of the timpani in bridging the last
two movements—in order to shoehorn everything into his organically unified whole,
how he “attributed to unrelated musical features an extra-musical kinship in order
to justify their inclusion in the work.” (See Wallace,
Beethoven’s Critics
[Cambridge University Press, 1986], pp. 24, 26; Chantler,
E.T.A. Hoffmann’s Musical Aesthetics
[Ashgate Publishing, 2006], p. 75.)

 22
. Stephen Rumph, “A Kingdom Not of This World: The Political Context of E.T.A. Hoffmann’s
Beethoven Criticism,”
19th-Century Music
19, no. 1 (Summer 1995): 51. Steven Cassedy has speculated that Hoffmann’s formulation
may be echoing a rather casual reading of Kant; see his “Beethoven the Romantic: How
E. T. A. Hoffmann Got It Right,”
Journal of the History of Ideas
71, no. 1 (Jan. 2010): especially pp. 2–4.

 23
. After Napoléon’s exile, Hoffmann’s criticism of the French would be more explicit.
In 1814, he would chastise the “unutterable sacrilege of that nation [France]” that
“led finally to a violent revolution that rushed across the earth like a devastating
storm”; by 1821, he could disdain the operas of the great French composer Jean-Baptiste
Lully, wondering “how it was that this empty, monotonous sing-song … could be regarded
as music for almost a hundred years, at least by the French.” (Hoffmann,
“Alte und neue Kirchenmusik,”
as translated in Rumph, “A Kingdom Not of This World,” p. 56; Hoffmann, “Further
Observations on Spontini’s Opera
Olimpia
,” in
E. T. A. Hoffmann’s Musical Writings
, David Charlton, ed. Martyn Clarke, trans. [Cambridge University Press, 2004], p.
435.)

 24
. Rumph, “A Kingdom Not of This World,” p. 61.

 25
. Johann Gottfried Herder,
“An die Deutschen,”
as translated in Elie Kedourie,
Nationalism
, 4th ed. (Oxford, UK: Blackwell Publishers, 1994), p. 53.

 26
. Harold Mah,
Enlightenment Phantasies: Cultural Identity in France and Germany 1750–1914
(Cornell University Press, 2003), pp. 60–61.

 27
. Berlin,
Four Essays on Liberty
(Oxford University Press, 1969), p. 134.

 28
. Ibid., p. 123.

 29
. Ortiz M. Walton, “A Comparative Analysis of the African and Western Aesthetics,”
in
The Black Aesthetic
, Addison Gayle Jr., ed. (Garden City, NY: Doubleday & Company, Inc., 1971), p. 165.

 30
. Berlin,
Four Essays on Liberty
, p. 135.

 31
. Hoffmann to Carl Friedrich Kunz, August 19, 1813, in
E. T. A. Hoffmanns Briefwechsel
, Erster Band, Friedrich Schnapp, ed. (München: Winkler-Verlag, 1967), p. 409 (
“so wird es Ihnen nicht sehr darauf ankomme[n]”
).

 32
. Hoffmann, “The Poet and the Composer,” Martyn Clarke, trans., in
E. T. A. Hoffmann’s Musical Writings
, pp. 189–90.

 33
. Michael Howard,
The Franco-Prussian
War:
The German Invasion of France, 1870–1871
(London: Routledge, 2001), p. 212.

 34
. As proposed by Klaus Martin Kopitz. See his
Beethoven, Elisabeth Röckel und das Albumblatt “Für Elise”
(Köln: Verlag Dohr, 2010).

 35
. Richard Wagner,
My Life
, vol. 1 (New York: Dodd, Mead & Co., 1911), p. 469.

 36
. Ibid., p. 476.

 37
. Wagner to Theodor Uhlig, February 1851, in Wagner,
Richard Wagner’s Letters to His Dresden Friends
, J. S. Shedlock, trans. (New York: Scribner and Welford, 1890), p. 94.

 38
. Arthur Schopenhauer,
The World as Will and Representation
, E. F. Payne, trans., vol. 1 (New York: Dover Publications, 1969), p. 257.

 39
. Ibid., p. 69.

 40
. Ibid., p. 72.

 41
. Ibid., pp. 261–62.

 42
. Richard Wagner, “Beethoven,” William Ashton Ellis, trans., in
Richard Wagner’s Prose Works
, vol. 5 (London: William Reeves, 1896), pp. 72–73.

 43
. Ibid., p. 92.

 44
. Ibid., p. 84.

 45
. K. M. Knittel, “Wagner, Deafness, and the Reception of Beethoven’s Late Style,”
Journal of the American Musicological Society
51, no. 1 (Spring 1998): 73.

 46
. Edward Dannreuther, “Beethoven and His Works: A Study,”
Macmillan’s Magazine
34 (July 1876): 194.

 47
. George Grove, “Beethoven,” in J. A. Fuller Maitland, ed.,
Grove’s Dictionary of Music and Musicians
(New York: Macmillan, 1911), p. 262.

 48
. Oliver Lodge,
The Substance of Faith Allied with Science: A Catechism for Parents and Teachers
(London: Methuen & Co., 1907), p. 87.

 49
. Knittel, “Wagner, Deafness, and the Reception of Beethoven’s Late Style,” p. 82.

 50
.
Cosima Wagner’s Diaries: Volume I, 1869–1877
, Martin Gregor-Dellin and Dietrich Mack, eds., Geoffrey Skelton, trans. (New York
and London: Harcourt Brace Jovanovich, 1978), p. 191.

 51
. Ibid., p. 586.

 52
. Richard Wagner, “Beethoven,” pp. 99–100.

 53
. Ibid., p. 126. Ellis renders Wagner’s
frecher Mode
as “shameless Mode”; “insolent fashion” is Edward Dannreuther’s translation.

 54
.
Cosima Wagner’s Diaries: Volume I
, p. 246.

 55
. Percy M. Young,
Beethoven: A Victorian Tribute; based on the papers of Sir George Smart
(London: Dennis Dobson, 1976), pp. 82–85.

 56
. Alan Walker,
Franz Liszt: The Virtuoso Years, 1811–1947
(Ithaca: Cornell University Press, 1987), p. 424.

 57
. Ryan Minor, “Prophet and Populace in Liszt’s ‘Beethoven’ Cantatas,” in
Liszt and His World
, edited by Christopher H. Gibbs and Dana Cooley (Princeton University Press, 2006),
p. 118.

 58
. Ibid., p. 150.