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POETRY AND THE ROMANTIC
MUSICAL AESTHETIC
James H. Donelan describes how two poets, a philosopher, and a
composer–Ho¨lderlin,Wordsworth,Hegel,andBeethoven–devel-
opedanideaofself-consciousnessbasedonmusicattheturnofthe
nineteenthcentury.Thisideabecameanenduringculturalbelief:the
understandingofmusicasanidealrepresentationoftheautonomous
creativemind.Againstabackgroundofpoliticalandculturalupheaval,
these four major figures – all born in 1770 – developed this idea in
bothmetaphoricalandactualmusicalstructures,therebyestablishing
both the theory and the practice of asserting self-identity in music.
Beethoven still carries the image of the heroic composer today; this
bookdescribeshowthisimageoriginatedinbothhismusicandinhow
othersrespondedtohim.Bringingtogetherthefieldsofphilosophy,
musicology,andliterarycriticism,Donelanshowshowthisdevelop-
ment emerged from the complex changes in European cultural life
takingplacebetween1795and1831.
jamesh.donelanteachesintheWritingProgramandtheDepart-
ments of Comparative Literature and English at the University of
California,SantaBarbara.Hisareasofinterestaremusic,aesthetics,
poetry,andtheteachingofhumanitieswriting,andhisarticleshave
appearedinPhilosophyandLiteratureandCriticalTexts.Heisthelead
classical music critic for the Santa Barbara Independent. This is his
firstbook.
i
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Formywifeandchildren
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POETRY AND THE
ROMANTIC MUSICAL
AESTHETIC
JAMES H. DONELAN
UniversityofCalifornia,SantaBarbara
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CAMBRIDGEUNIVERSITYPRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo
Cambridge University Press
The Edinburgh Building, Cambridge CB28RU, UK
Published in the United States of America by Cambridge University Press, New York
www.cambridge.org
Information on this title: www.cambridge.org/9780521887618
© James H. Donelan 2008
This publication is in copyright. Subject to statutory exception and to the provision of
relevant collective licensing agreements, no reproduction of any part may take place
without the written permission of Cambridge University Press.
First published in print format 2008
ISBN-13 978-0-511-38849-1 eBook (NetLibrary)
ISBN-13 978-0-521-88761-8 hardback
Cambridge University Press has no responsibility for the persistence or accuracy of urls
for external or third-party internet websites referred to in this publication, and does not
guarantee that any content on such websites is, or will remain, accurate or appropriate.
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Contents
ListofMusicalExamples page vii
Acknowledgments ix
Preface:TheSoundandtheSpirit xi
1 Self-ConsciousnessandMusicintheLateEnlightenment 1
Kant,Self-Consciousness,andAesthetics 5
Fichte,Schiller,Schelling,andtheSystemprogrammFragment:The
OriginsofRomanticSelf-Consciousness 14
MozartandtheTransformationofEnlightenmentMusicalAesthetics 24
TheBeginningofRomanticMusicalSelf-Consciousness 30
2 Ho¨lderlin’sDeutscherGesangandtheMusic
ofPoeticSelf-Consciousness 33
“UrtheilundSeyn”:ExistenceinPoetry 35
“WechselderTo¨ne”:TheMusicofPoeticLanguage 40
DivineSelf-Positing:“Dichterberuf”andtheFirstLettertoBo¨hlendorff 43
“BrodundWein,”“Patmos,”and“WiewennamFeiertage”:TheDivine
OriginofDeutscherGesang 49
3 Hegel’sAestheticTheory:Self-Consciousness
andMusicalMaterial 68
Hegel’sAestheticLectures:OriginandContext 70
HegelianSelf-ConsciousnessandArt 71
MusicandtheHegelianFormsofArt 76
MusicandSubjectivity 84
TheProblemofAbsoluteMusic 87
PoetryandMusic 90
4 Nature,Music,andtheImaginationinWordsworth’sPoetry 97
SongandArticulateMeaning:“TheSolitaryReaper” 107
NaturalMusicinThePrelude 112
Text,Voice,andImagination:“TheDreamoftheArab” 115
NaturalSoundandChildhoodDeath:“TheBoyofWinander” 122
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vi Contents
TextualSilence:“TheBlindBeggar” 126
Conclusion:“OnthePowerofSound”andThePrelude 130
5 BeethovenandMusicalSelf-Consciousness 136
Beethoven’sIntellectualLife 140
TheHeroicStyle(1803–12) 143
TheLateStyle(1813–27) 148
(cid:1)
Opus130/133,StringQuartetNo.13inB :FirstMovement 154
StringQuartetNo.13:MiddleMovements 165
StringQuartetNo.13:GroßeFugeandFinale 169
ReceptionoftheLateQuartets 172
Conclusion:TheMeaningofaQuartet 174
6 ThePersistenceofSound 176
Notes 179
Bibliography 205
Index 213
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List of Musical Examples
1. Beethoven, String Quartet No. 13 in B(cid:1) major, Opus 130, First
Movement,Measures1–4
2. Beethoven, String Quartet No. 13 in B(cid:1) major, Opus 130, First
Movement,Measures13–19
3. Beethoven, String Quartet No. 13 in B(cid:1) major, Opus 130, First
Movement,Measures51–55
4. Beethoven, String Quartet No. 13 in B(cid:1) major, Opus 130, First
Movement,Measures55–60
5. Beethoven, String Quartet No. 13 in B(cid:1) major, Opus 130, First
Movement,Measures94–105
6. Beethoven, String Quartet No. 13 in B(cid:1) major, Opus 130, First
Movement,Measures106–111
7. Beethoven,StringQuartetNo.13inB(cid:1)major,Opus130,Second
Movement,Measures49–65
8. Beethoven, String Quartet No. 13 in B(cid:1) major, Opus 130, Sixth
Movement,Measures1–6
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Description:James H. Donelan describes how two poets, a philosopher, and a composer - H?lderlin, Wordsworth, Hegel, and Beethoven - developed an idea of self-consciousness based on music at the turn of the nineteenth century. This idea became an enduring cultural belief: the understanding of music as an ideal r
