Beethoven after Napoleon: Political Romanticism in the Late Works

Notes

introduction 1. James Sheehan,German History,1770–1866 (Oxford:Oxford University Press, 1989), p. 358; the final phrase comes from the conversation between Goethe and Napoleon in October 1808, reported by Friedrich von Müller; see Goethes Gespräche:eine Sammlung zeitgenössischer Berichte aus seinem Umgang , vol. 2, ed. Wolfgang Herwig (Zurich: Artemis, 1969), p. 335. 2. Maynard Solomon, Beethoven (New York: Schirmer Books, 1977), pp. 138–41;Joseph Kerman andAlanTyson,The New Grove Beethoven (NewYork: W. W. Norton, 1983), p. 99; Felix Markham, Napoleon (New York: New American Library, 1966), p. 56. 3. Constantin Floros, Beethovens Eroica und Prometheus-Musik (Wilhelmshaven : Heinrichshofen, 1978); Keisuke Maruyama, “Die Sinfonie des Prometheus: zur Dritten Sinfonie,” in Analecta varia, ed. H. K. Metzger and R. Riehn (Munich: Edition Text & Kritik, 1987), pp. 46–82; Martin Geck and Peter Schleuning, “Geschrieben auf Bonaparte.” “Beethovens Eroica”: Revolution, Reaktion, Rezeption (Reinbek bei Hamburg: Rororo Sachbuch, 1989); Scott Burnham, Beethoven Hero (Princeton: Princeton University Press, 1995); Thomas Sipe,Beethoven:Eroica Symphony (Cambridge:Cambridge University Press, 1998); David Charlton, “The French Theatrical Origins of Fidelio” and Paul Robinson,“Fidelio and the French Revolution,” in Ludwig van Beethoven: Fidelio, ed. Paul Robinson (Cambridge: Cambridge University Press, 1996), pp. 51–67, 68–100; Music and the French Revolution, ed. Malcolm Boyd (Cambridge : Cambridge University Press, 1992); Helga Lühning and Sieghard Brandenburg (eds.), Beethoven: zwischen Revolution und Restauration (Bonn: Beethoven-Haus, 1989). 4. J. W. N. Sullivan, Beethoven: His Spiritual Development (New York: Vintage Books, 1953), p. 122; Donald Jay Grout and Claude Palisca, A History of Western Music (New York: Norton, 1988), p. 392. 5. Theodor Adorno, “Alienated Masterpiece: The Missa Solemnis,” trans. 247 Notes Duncan Smith, Telos 28 (summer 1976), p. 122; Solomon, Beethoven, p. 318; Brandenburg and Lühning (eds.), Beethoven, p. 3. 6. Adorno,Introduction to the Sociology of Music, trans. E. B.Ashton (New York: Seabury Press), p. 211; Frida Knight, Beethoven and the Age of Revolution (New York: International Publishers, 1973), p. 160; Carl Dahlhaus, Nineteenth -Century Music, trans. J. Bradford Robinson (Berkeley: University of California Press, 1989), pp. 8–15; Beethoven quoted in Alexander Wheelock Thayer, Thayer’s Life of Beethoven, ed. Eliot Forbes (Princeton: Princeton University Press, 1980) (hereafter Thayer-Forbes), p. 956. 7. David Blackbourn, The Long Nineteenth Century (London: Fontana Press, 1997), p. 121. 8. See, for example, Thomas Nipperdey, “Auf der Suche nach der Identität: romantische Nationalismus,” in Nachdenken über die deutsche Geschichte: Essays (Munich: C. H. Beck, 1986), pp. 110–25; and Hans Reiss’s traditionalist rebuttal ,“Politische Romantik:eineAntwort aufThomas Nipperdey,”in Jahrbuch des Freien Deutschen Hochstifts 1995, ed. Christoph Perels (Tübingen, 1995), pp. 301–18. For Schlegel and Müller see Ulrich Scheuner, “Staatsbild und politische Form in der romantischen Anschauung in Deutschland,” in Romantik in Deutschland: ein interdisziplinäres Symposion, ed. Richard Brinkmann (Stuttgart: J. B. Metzlersche, 1978), pp. 70–83. 9. Robinson, “Fidelio and the French Revolution,” p. 80. 10. F. Scott Fitzgerald, This Side of Paradise (New York: Charles Scribner’s Sons, 1920), p. 236. chapter 1 1. E. T. A. Hoffman, Sämtliche Werke in Sechs Bänden, vol. II, no. 1, ed. Hartmut Steinecke (Frankfurt am Main: Bibliothek deutscher Klassiker, 1993), p. 453.All translations of Hoffmann are my own, made in consultation with the recent English translation, E. T. A. Hoffmann: Kreisleriana, The Poet and the Composer, Musical Writings, ed. David Charlton, trans. Martyn Clarke (Cambridge : Cambridge University Press, 1989). 2. E. T. A. Hoffmann, Schriften zur Musik: Nachlese, ed. Friedrich Schnapp (Munich: Winkler, 1963), pp. 34, 36–37, and 37.All further citations of the Fifth Symphony review refer to the Schnapp edition and will be given parenthetically within the text. 3. Hoffmann, Sämtliche Werke, vol. II, no. 2, pp. 60. 4. Robin Wallace, Beethoven’s Critics (Cambridge: Cambridge University Press, 1986), p. 24; Peter Schnaus, E. T. A. Hoffmann als Beethoven-Rezensent der Allgemeinen musikalischen Zeitung (Munich: E. Katzbichler, 1977); Peter Gülke, “ . . . immer das Ganze vor Augen”: Studien zu Beethoven (Stuttgart: Metzler, 2000), pp. 175–79. 5. Hoffmann, Sämtliche Werke, vol. I, no. 2, p. 19; Benedikt Koehler, Ästhetik der Politik: Adam Müller und die politische Romantik (Stuttgart: KlettCotta , 1980), pp. 114–15. 248 / Notes to Pages 4–12 6. Michael Rohrwasser characterized Die Vision auf dem Schlachtfeld bei Dresden as “one of those propaganda writings called for by Baron Stein, even if it remains the only such contribution...