“Abendlied unter’m gestirnten Himmel ” (Beethoven), 188, 190; and Ninth Symphony, 189, 191; the sublime in, 189; tonality of, 191 Abrams, M. H., 66 the Absolute: and expressivism, 87; in Romantic political writing, 31 absolute music: in Beethoven’s late works, 34; Hoffmann on, 6, 9, 10, 27, 34 absolutism, enlightened, 218 abstraction, musical: in Beethoven’s late works, 34; Hoffmann on, 9–11 Adalbert, Gyrowetz, 94 Adorno, Theodor, 64, 241–44, 266n26; on Beethoven’s counterpoint, 155; formalism of, 244; on heroic style, 3; on late style, 6, 197, 202; on neoclassicism , 243; and poststructuralism, 263n5; on Restoration Zeitgeist, 4 aesthetics: Aristotelian model of, 30; Christian-modern, 30, 31, 34, 99, 106, 132, 153; eighteenth-century, 36; the noumenal in, 210; paganantique , 30, 99, 153; Pythagorean model of, 30 Albrechtsberger, Johann Georg, 99 Alexander I (czar of Russia), 12; Romanticism of, 20 Allan, Seán, 219 Allgemeine Musikalische Zeitung, Bildung in, 15 An die ferne Geliebte (Beethoven): authorial presence in, 207–8; cadenzas of, 104, 206; final song in, 189; and opus 131, 234; Romanticism of, 236; tonality of, 73; unity of, 37 androgyny, Viennese, 158, 159–67, 188; in Ninth Symphony, 192–93 Apel, Johann August, 44 Applegate, Celia, 250n22 “Archduke” Trio. See Piano Trio in B-flat Major aristocracy: Burke on, 169; Müller on, 173; Novalis on, 170 Arminius (German hero), 19 Arndt, Ernst Moritz: Geist der Zeit, 27 Arnim, Achim von, 17; folklorism of, 195–96 art: power over chaos, 53; reason as, 83–84 art music, German, 33; popularization of, 231 Austria: defeat of, by Napoleon, 101; under Franz II, 35; nationalist movement in, 93–94, 98, 216. See also Restoration, Austrian 279 Index Page references to musical examples are in italics. authoritarianism, in Romantic discourse , 21 Baader, Franz, 17 Bach, C. P. E., 37, 225; Beethoven’s study of, 97 Bach, J. S.: chiasmic designs of, 37; Goethe on, 225; influence on Beethoven, 97–98, 99, 112–13, 257n11; preludes of, 112, 116, 125. Works: “Chromatic Fantasy and Fugue,” 98; Goldberg Variations, 257n11; Musical Offering, 81, 125, 131; Well-Tempered Clavier, 114 Baensch, Otto, 156 Bagatelles, opus 126 (Beethoven), 191, 192; in G Major, no. 5, 112 band music, Beethoven’s, 187 Der Bardengeist (Beethoven), 18–19 Barthes, Roland, 196 Bastien und Bastienne (Mozart), 74 Bastille, fall of, 1 battle symphonies, 81 Baxa, Jakob, 20 beauty: Burke on, 167–68; “energizing ” and “melting,” 49; and individual freedom, 84; purposiveness of, 45–46; and the sublime, 36, 45, 48–49, 55, 83, 167, 169, 171, 173 Beethoven, Ludwig van: Akademie of December 1808, 53, 55; annuity of, 94–96; authorial control of, 196; Besonnenheit of, 10, 16, 27; cantatas for Lesegesellschaft, 107; on Catholicism , 257n13;“Christian-modern” compositions of, 106, 132; chromaticism of, 235–36; Classicism of, 226–29, 234, 235–38, 240; composed cadenzas of, 103–5, 206, 209–10, 212, 220; conception of finale, 180; Congress of Vienna works, 1, 4, 21, 165, 166; conservatism of, 106–7, 111, 220; counterpoint, use of, 99–103; deafness of, 3, 43, 75; defense of autonomy , 242; desire for control, 105; disillusionment with Restoration, 34, 107, 155; early life of, 35; economic problems of, 95–96, 105–6; E-flat, use of, 73; French influence on, 3, 258n22; Germanic music of, 26; Heilsgeschichte of, 50; historicism of, 97–99, 155; humanistic teleology, 200; humorous canons of, 117; identification with Napoleon, 2; influence of Bach on, 97–98, 99, 112–13, 257n11; influence of Goethe on, 97; influence of Haydn on, 48, 74–75, 97; influence of Kant on, 43; influence of Mozart on, 97, 111, 260n4; interest in mechanism, 198; involvement with folksong, 101; liberalism of, 241; lyricism of, 100–103, 175; marches of, 1, 187; modernist critique of, 222–24, 241, 244, 245; following occupation of Vienna, 94–96; as mystic, 222; patriotic music of, 1, 34, 96; patriotism of, 21; patrons of, 95, 100; periodization of, 92, 105–8; place in history, 98; political engagement of, 96, 107–8, 167; political Romanticism of, 5, 112; political studies on, 2–3; preludes of, 111; recapitulations of, 129; recitatives of, 209, 264n20; Redoutensaal tunes, 142; religious opinions of, 257n13; during Restoration, 3–4, 107; Romantic crisis of, 92–93; Romantic image of, 224; and Rossini, 4, 93; “second nature” of, 27; sketchbooks, 94; sonata forms of, 89, 90; the sublime in works of, 7, 36, 48, 51–57; support for monarchy, 22; trills of, 191, 192, 243; at...