Metaphors of Depth in German Musical Thought: From E. T. A. Hoffmann to Arnold Schoenberg

350 Pages·2011·6.28 MB·English

by  Holly Watkins

MetaphorsofDepthinGermanMusicalThought
Whatdoesitmeantosaythatmusicisdeeplymoving?Orthatmusic’s
aestheticvaluederivesfromitsdeepstructure?Thisstudytracesthewidely
employedtropeofmusicaldepthtoitsoriginsinGerman-languagemusic
criticismandanalysis.FromtheRomanticaestheticsofE.T.A.Hoffmannto
themodernisttheoriesofArnoldSchoenberg,metaphorsofdepthattestto
thecross-pollinationofmusicwithdiscoursesrangingfromtheology,geol-
ogy,andpoeticstopsychology,philosophy,andeconomics.Thebook
demonstratesthatthepersistenceofdepthmetaphorsinmusicologyand
musictheorytodayisanoutgrowthoftheiressentialroleinarticulatingand
transmittingGermanicculturalvalues.Whilemusicaldepthmetaphorshave
historicallyservedtocommunicateGermannationalistsentiments,Watkins
showsthatanappreciationforthebroadconnotationsofthosemetaphors
opensupexcitingnewavenuesforinterpretation.
HollyWatkinsisAssociateProfessorofMusicologyattheEastman
SchoolofMusic.Shehasbeenarecipientofnumerousawards,including
aDonaldD.HarringtonFacultyFellowshipatTheUniversityofTexasat
AustinandanAlvinH.JohnsonAMS50DissertationFellowship.Her
researchonvarioustopicsinnineteenth-andtwentieth-centurymusic
hasbeenpublishedintheJournaloftheAmericanMusicologicalSociety,
19th-CenturyMusic,andCurrentMusicology.
Newperspectivesinmusichistoryandcriticism
Generaleditors:JeffreyKallberg,AnthonyNewcomb,andRuthSolie
Thisseriesexplorestheconceptualframeworksthatshapeorhaveshapedthe
waysinwhichweunderstandmusicanditshistory,andaimstoelaborate
structuresofexplanation,interpretation,commentary,andcriticismwhich
makemusicintelligibleandwhichprovideabasisforargumentabout
judgementsofvalue.Theintellectualscopeoftheseriesisbroad.Some
investigationswilltreat,forexample,historiographicaltopics,otherswill
applycross-disciplinarymethodstothecriticismofmusic,andtherewillalso
bestudieswhichconsidermusicinitsrelationtosociety,culture,andpolitics.
Overall,theserieshopestocreateagreaterpresenceformusicintheongoing
discourseamongthehumansciences.
Publishedtitles
LeslieC.DunnandNancyA.Jones(eds.),EmbodiedVoices:Representing
FemaleVocalityinWesternCulture
DowningA.Thomas,MusicandtheOriginsofLanguage:Theoriesfromthe
FrenchEnlightenment
ThomasS.Grey,Wagner’sMusicalProse
DanielK.L.Chua,AbsoluteMusicandtheConstructionofMeaning
AdamKrims,RapMusicandthePoeticsofIdentity
AnnetteRichards,TheFreeFantasiaandtheMusicalPicturesque
RichardWill,TheCharacteristicSymphonyintheAgeofHaydnand
Beethoven
ChristopherMorris,ReadingOperabetweentheLines:OrchestralInterludes
andCulturalMeaningfromWagnertoBerg
EmmaDillon,MedievalMusic-Makingandthe“RomandeFauvel”
DavidYearsley,BachandtheMeaningsofCounterpoint
DavidMetzer,QuotationandCulturalMeaningintheTwentiethCentury
AlexanderRehding,HugoRiemannandtheBirthofModernMusical
Thought
DanaGooley,TheVirtuosoLiszt
BonnieGordon,Monteverdi’sUnrulyWomen:ThePowerofSonginEarly
ModernItaly
GaryTomlinson,TheSingingoftheNewWorld:IndigenousVoiceintheEra
ofEuropeanContact
MatthewGelbart,TheInventionof“FolkMusic”and“ArtMusic”:Emerging
CategoriesfromOssiantoWagner
OliviaA.Bloechl,NativeAmericanSongattheFrontiersofEarlyModern
Music
GiuseppeGerbino,MusicandtheMythofArcadiainRenaissanceItaly
RogerFreitas,PortraitofaCastrato:Politics,Patronage,andMusicintheLife
ofAttoMelani
GundulaKreuzer,VerdiandtheGermans:FromUnificationtotheThird
Reich
HollyWatkins,MetaphorsofDepthinGermanMusicalThought:From
E.T.A.HoffmanntoArnoldSchoenberg

Metaphors of Depth
in German Musical
Thought
From E.T.A. Hoffmann to Arnold Schoenberg
Holly Watkins
cambridge university press
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Singapore,SãoPaulo,Delhi,Tokyo,MexicoCity
CambridgeUniversityPress
TheEdinburghBuilding,CambridgeCB28RU,UK
PublishedintheUnitedStatesofAmericabyCambridgeUniversityPress,
NewYork
www.cambridge.org
Informationonthistitle:www.cambridge.org/9781107010918
©HollyWatkins2011
Thispublicationisincopyright.Subjecttostatutoryexception
andtotheprovisionsofrelevantcollectivelicensingagreements,
noreproductionofanypartmaytakeplacewithoutthewritten
permissionofCambridgeUniversityPress.
Firstpublished2011
PrintedintheUnitedKingdomattheUniversityPress,Cambridge
AcataloguerecordforthispublicationisavailablefromtheBritishLibrary
LibraryofCongressCataloguinginPublicationdata
Watkins,Holly,1972–
MetaphorsofdepthinGermanmusicalthought:fromE.T.A.HoffmanntoArnold
Schoenberg/HollyWatkins.
p. cm.–(Newperspectivesinmusichistoryandcriticism)
Includesbibliographicalreferences.
ISBN978-1-107-01091-8(Hardback)
1. Music–Philosophyandaesthetics. 2. Music–Germany–19thcentury–
Historyandcriticism. 3. Music–Germany–20thcentury–Historyandcriticism.
4. Musicandphilosophy. I. Title. II. Series.
ML3800.W27 2011
780.943–dc22
2011007346
ISBN978-1-107-01091-8Hardback
CambridgeUniversityPresshasnoresponsibilityforthepersistenceor
accuracyofURLsforexternalorthird-partyinternetwebsitesreferredto
inthispublication,anddoesnotguaranteethatanycontentonsuch
websitesis,orwillremain,accurateorappropriate.
Contents
Listofmusicexamplesandfigures pageviii
Acknowledgements xi
Noteonthetext xiii
Introduction 1
1 Fromtheminetotheshrine:thecriticaloriginsofmusicaldepth 22
2 AdolfBernhardMarxandtheinnerlifeofmusic 51
3 RobertSchumannandpoeticdepth 86
4 RichardWagnerandthedepthsoftime 119
5 HeinrichSchenkerandtheapotheosisofmusicaldepth 163
6 Schoenberg’sinteriordesigns 192
Notes 245
Bibliography 303
Index 330
Music examples and figures
Musicexamples
1.1 Beethoven,Symphonyno.5,firstmovement,mm.1–24 page41
1.2 Beethoven,Symphonyno.5,firstmovement,mm.158–82 42
2.1 Beethoven,SonatainE-flatmajor,op.31,no.3,firstmovement,
mm.1–47 74
2.2 Beethoven,SonatainGmajor,op.31,no.1,firstmovement,mm.
1–67 76
2.3 Beethoven,SonatainGmajor,op.31,no.1,secondmovement,mm.
1–29 82
3.1 RobertSchumann,Carnaval,op.9,“Sphinxes” 87
3.2 Schumann,Nachtstücke,op.23,firstmovement,mm.1–9 109
3.3 Schumann,Nachtstücke,op.23,firstmovement,mm.105–12 109
3.4 Schumann,Nachtstücke,op.23,firstmovement,mm.25–28 110
3.5 Schumann,Nachtstücke,op.23,firstmovement,mm.49–60 110
3.6 Schumann,Nachtstücke,op.23,fourthmovement,mm.1–14 112
3.7 Schumann,Nachtstücke,op.23,fourthmovement,mm.22–28 112
4.1 Wagner,DieWalküre,scene1:cellomotiveaccompanyingSiegmund’sfirst
gazeatSieglinde 138
4.2 Wagner,DasRheingold,scene2:Freiafleeingthegiants 138
4.3 Wagner,DasRheingold,transitionbetweenscenes2and3 140
4.4 Wagner,DasRheingold,transitionbetweenscenes3and4 141
4.5 Wagner,DasRheingold,scene2:the“Valhalla”motive 142
4.6 Wagner,DieWalküre,endofscene1 145
4.7 Wagner,DieWalküre,scene2:Hunding’sobservation 146
4.8 Wagner,DieWalküre,scene3:Siegmundseesthelight 147
4.9 Wagner,DieWalküre,scene3:Siegmund,“Winterstürmewichendem
Wonnemond” 149
ix List of music examples and figures
4.10 Wagner,DieWalküre,scene3:Sieglinde,“DubistderLenz” 151
4.11 Wagner,DieWalküre,scene3:outofthedepths 153
4.12 Wagner,DieWalküre,scene3:lookingevermoreclosely 156
4.13 Wagner,DieWalküre,scene3:hearingvoices 158
5.1 J.S.Bach,CiacconafromthePartitainDminorforviolin,BWV1004,mm.
217–20 172
5.2 RobertSchumann,Kinderscenen,op.15,no.1,“OfForeignLandsand
Peoples” 180
6.1 Schoenberg,Erwartung,op.17,mm.1–9.©Copyright1916byUniversal
EditionA.G.,Vienna/UE5362.Usedbypermission 203
6.2 Schoenberg,Erwartung,op.17,mm.15–19.©Copyright1916byUniversal
EditionA.G.,Vienna/UE5362.Usedbypermission 207
6.3 Schoenberg,Erwartung,op.17,mm.11–14.©Copyright1916byUniversal
EditionA.G.,Vienna/UE5362.Usedbypermission 210
6.4 Schoenberg,Erwartung,op.17,mm.19–22.©Copyright1916byUniversal
EditionA.G.,Vienna/UE5362.Usedbypermission 210
6.5 Schoenberg,DieJakobsleiter,mm.1–16.UsedbypermissionofBelmont
MusicPublishers 217
6.6 Schoenberg,DieJakobsleiter,mm.36–43.UsedbypermissionofBelmont
MusicPublishers 219
6.7 Schoenberg,DieJakobsleiter,mm.565–67.UsedbypermissionofBelmont
MusicPublishers 223
6.8 Schoenberg,DieJakobsleiter,mm.585–89.UsedbypermissionofBelmont
MusicPublishers 224
6.9 PrincipalrowformsofSchoenberg’sSuiteforPiano,op.25 233
6.10 Schoenberg,SuiteforPiano,op.25,Präludium,mm.1–3.©Copyright1925
byUniversalEditionA.G.,Vienna/UE7627.Usedbypermission 233
6.11 Schoenberg,SuiteforPiano,op.25,Präludium,mm.6–9.©Copyright1925
byUniversalEditionA.G.,Vienna/UE7627.Usedbypermission 240
6.12 Schoenberg,SuiteforPiano,op.25,Präludium,mm.14–16.©Copyright
1925byUniversalEditionA.G.,Vienna/UE7627.Usedby
permission 241