The First Four Notes: Beethoven's Fifth and the Human Imagination Part 8

115. From "The Eighteenth Brumaire of Louis Bonaparte," in Karl Marx, The Essential Marx: The Non-Economic Writings-a Selection, Saul K. Padover, ed. (New York: New American Library, 1978), p. 234.

116. "La Ma.r.s.eillaise" was performed in Gossec's standard orchestration, originally written for his 1792 opera L'Offrande a la liberte. The concert closed with the final "Hallelujah, Amen" from Handel's Judas Maccabeus. See Prod'homme, "La musique et les musiciens en 1848," Sammelbande der Internationalen Musikgesellschaft 14, no. 1 (Oct.-Dec. 1912): 158.

117. Quoted in Beate Angelika Kraus, "Beethoven and the Revolution: The View of the French Musical Press," in Music and the French Revolution, Malcolm Boyd, ed. (Cambridge University Press, 1992), p. 307.

CHAPTER 2. Fates.

1. Kurt Munzer, Mademoiselle, in Die flammende Venus: Erotische Novellen, Reinhold Eichacker, ed. (Munich: Universal-Verlag, 1919), pp. 122, 121. ("Mademoiselle langte nach dem Beethovenband. Sie schlug die Symphonie auf, legte das Heft auf das Notenpult und setzte sich neben Eduard zurecht. 'Erste, zweite, dritte ,' begann sie und schlug an. Aber Eduard lie plotzlich die Hande sinken und sagte, ohne das Fraulein anzusehen. 'Heut,' sagte er leise, 'heut sprach der Brunner aus der Obersekunda mit mir, der einmal Klavierkunstler werden will. Ich erzahlte ihm, da wir diese Symphonie spielten, und da nannte er sie die Schicksals-Symphonie. Diese ersten Noten, sagte er, bedeuten: so klopft das Schicksal an die Pforte.' Und er schlug die Tone an und summte leise dazu: 'So klopft das Schick- / sal an die Pforte.' 'Naturlich', sagte Mademoiselle gedankenlos. Gott wei, wo ihre Gedanken waren.") 2. Anton Schindler, The Life of Beethoven, Ignace Moscheles, trans. and ed. (London: Henry Colburn, 1841), vol. 2, p. 150.

3. Anton Schindler, Biographie von Ludwig van Beethoven, vol. 1, p. 158. As translated by Donald W. MacArdle in Anton Schindler, Beethoven as I Knew Him (New York: Dover Publications, 1996), p. 147.

4. Felix Weingartner, On Conducting, Ernest Newman, trans. (London: Breitkopf und Hartel, 1906), p. 35.

5. Margaret Fuller, Papers on Literature and Art (New York: John Wiley, 1848), Part I, pp. 8687.

6. William Mason, Memories of a Musical Life (New York: The Century Co., 1902), p. 80.

7. Ibid., pp. 8182.

8. William S. Newman, "Yet Another Major Beethoven Forgery by Schindler?" The Journal of Musicology 3, no. 4 (Autumn 1984): 397422.

9. Standley Howell, "Beethoven's Maelzel Canon: Another Schindler Forgery?" The Musical Times (December 1979): 98790.

10. See Peter Stadlen, "Schindler's Beethoven Forgeries," The Musical Times (July 1977): 54952, and Dagmar Beck et al., "Einige Zweifel an der uberlieferung der Konversationshefte," in Bericht uber den Internationalen Beethoven-Kongre 20. bis 23. Marz 1977 in Berlin, Harry Goldschmidt et al., eds. (VEB Deutscher Verlag fur Musik Leipzig, 1978), pp. 25774.

11. Philip Hale, Philip Hale's Boston Symphony Programme Notes, John N. Burk, ed. (Garden City, NY: Doubleday, Doran, & Co., 1935), p. 23.

12. Emily Anderson, ed., The Letters of Beethoven, Collected, Translated and Edited with an Introduction, Appendixes, Notes and Indexes (New York: St. Martin's Press, 1961), pp. 6668.

13. Maynard Solomon, "Beethoven's Tagebuch of 18121818," In Beethoven Studies 3, Alan Tyson, ed. (Cambridge University Press, 1982), p. 212.

14. Ibid., p. 249. Beethoven's original ("Zeige deine Gewalt Schicksal! Wir sind nicht Herrn uber uns selbst; was beschlossen ist, mu seyn, und so sey es dann!") is a slight misquotation of Christoph Martin Wieland's translation ("Schiksal, zeige deine Macht: Wir sind nicht Herren uber uns selbst; was beschlossen ist, mu seyn, und so sey es dann!"). Shakespeare, Shakespear Theatrikalische Werke, Christoph Martin Wieland, trans. (Zurich: Orell, Gener und Comp., 1766), VIItr. Band, p. 437.

15. Solomon, "Beethoven's Tagebuch of 18121818," p. 232.

16. Editha and Richard Sterba, Beethoven and His Nephew: A Psychoa.n.a.lytical Study of Their Relations.h.i.+p (New York: Schocken Books, 1971), p. 10.

17. Johann Kasper Lavater, Hundert Christliche Lieder (Zurich: Orell, Gessner, Fuli und Comp., 1776), p. 46. Lavater, who once tried to convert Moses Mendelssohn, was, incidentally, indirectly responsible for the existence of Beethoven's death mask; his 1778 Physiognomische Fragmente spurred the vogue for such casts.

18. James Macpherson, Die Gedichte Ossians eines alten Celtischen Dichter, Michael Denis, trans. (Vienna: Johann Thomas Edlen v. Trattern, 1769), Dritter Band, p. 157.

19. German: Der Koran: oder Das gesetz der Moslemen durch Muhammed den sohn Abdallahs, translated by Friedrich Eberhard Boysen (Halle:"in der Gebauerschen Buchhandlung," 1828), p. 343; English: The Koran, translated by J. M. Rodwell (London: Williams and Norgate, 1861), p. 204.

20. A. W. Schlegel, Kritische Schriften und Briefe (Stuttgart: W. Kohlhammer Verlag, 1962), vol. 4, p. 37. See also Nicholas A. Germana, The Orient of Europe: The Mythical Image of India and Competing Images of German National Ident.i.ty (Cambridge Scholars Press, 2009).

21. Friedrich Schiller, "The Mission of Moses," in Schiller's Complete Works, C. J. Hempel, ed. and trans. (Philadelphia: I. Kohler, 1861), vol. 2, p. 359.

22. Thayer-Forbes, p. 240.

23. See Maynard Solomon, "Beethoven, Freemasonry, and the Tagebuch of 18121818," Beethoven Forum 8 (2000): 10146.

24. Malcolm C. Duncan, Duncan's Masonic Ritual and Monitor (New York: d.i.c.k & Fitzgerald, 1866), pp. 5960.

25. August von Kotzebue, Theater von August v. Kotzebue (Verlag von Ignaz Klang in Wien und Eduard k.u.mmer in Leipzig, 1841), vol. 35, p. 17.

26. Lewis Lockwood, Beethoven: The Music and the Life (New York: W. W. Norton & Co., 2005), p. 230.

27. See Frithjof Haas, Hans von Bulow: Leben und Wirken (Wilhelmshaven: Florian Noetzel Verlag, 2002), pp. 33233.

28. George Gordon Byron, Lord Byron's Cain: Twelve Essays and a Text with Variants and Annotations, Truman Guy Steffan, ed. (University of Texas Press, 1968), p. 163.

29. Ibid., p. 254.

30. Richard Wagner to Hans von Bulow, October 10, 1854, in Wagner, Samtliche Briefe, Band VI, Hans-Josef Bauer et al., eds. (VEB Deutscher Verlag fur Musik Leipzig, 1986), Band VI, pp. 25761.

31. C. A. Barry, "Hans von Bulow's 'Nirvana,' " Zeitschrift der Internationalen Musikgesellschaft 2, no. 9 (June, 1901): 298.

32. G. W. F. Hegel, Hegel's Philosophy of Right, S. W. Dyde, trans. (London: George Bell and Sons, 1896), p. xxvii.

33. G. W. F. Hegel, Hegel's Lectures on the History of Philosophy, E. S. Haldane, trans. (London: Routledge & Kegan Paul Ltd., 1955), vol. 1, p. 279.

34. As translated in Philip Wheelwright, Herac.l.i.tus (Princeton University Press, 1959), pp. 29, 90.

35. See Hegel, The Difference Between Fichte's and Sch.e.l.ling's System of Philosophy, Walter Cerf and H. S. Harris, trans. (Albany: SUNY Press, 1977). In time, Hegel's reputation would eclipse both subjects of his initial foray into philosophy. Sch.e.l.ling, who outlived his onetime friend, would bitterly claim to have taught Hegel everything he knew. Fichte's revenge was more subtle-the simple thesis-ant.i.thesis-synthesis dialectic so often and somewhat inaccurately a.s.sociated with Hegel's thought was originally popularized by Fichte.

36. Ibid., p. 172.

37. Hegel, Lectures on the Philosophy of History, p. 466.

38. Ibid., p. 212.

39. Ibid., p. 257.

40. Hegel, The Difference Between Fichte's and Sch.e.l.ling's System of Philosophy, p. 92.

41. For a discussion that a.n.a.lyzes Hegel's ambivalence as an attempt to dialectically mediate between formalism and anti-formalism, see Richard Eldridge, "Hegel on Music," in Hegel and the Arts, Stephen Houlgate, ed. (Northwestern University Press, 2007), pp. 11945.

42. Hegel, Aesthetics: Lectures on Fine Art, T. M. Knox, trans. (Oxford: Clarendon Press, 1975), vol. 2, p. 895.

43. Ibid., p. 902.

44. Ibid., p. 896.

45. Ibid., p. 895.

46. Hegel, Hegel's Philosophy of Mind, pp. 17274.

47. Sidney Lanier, "To Beethoven," in Poems of Sidney Lanier (New York: Charles Scribner's Sons, 1888), p. 98.

48. Ludwig Nohl, Life of Beethoven, John J. Lalor, trans. (Chicago: Jansen, McClurg & Co., 1881), p. 97. (Emphasis added.) (Originally published in Germany by Ernst Julius Gunther, Leipzig, in 1867.) 49. Scott Burnham, "Introduction" to A. B. Marx, Musical Form in the Age of Beethoven, Scott Burnham, ed. and trans. (Cambridge University Press, 1997), p.4.

50. A. B. Marx, Musical Form in the Age of Beethoven, p. 66.

51. Ibid., p. 63.

52. Ibid., p. 92.

53. Charles Rosen, Sonata Forms (New York: W. W. Norton & Co., 1980), p. 292.

54. A. B. Marx, "A Few Words on the Symphony and Beethoven's Achievements in This Field," in Senner et al., The Critical Reception of Beethoven's Compositions by His German Contemporaries (University of Nebraska Press, 1999), vol. 1, pp. 5977, 66.

55. Maynard Solomon, "Beethoven's Tagebuch of 18121818," in Beethoven Studies 3, Alan Tyson, ed. (Cambridge University Press, 1982), p. 239.

56. Friedrich Engels to Marie Engels, late 1838, in Marx and Engels, Karl Marx/Friedrich Engels: Collected Works, vol. 2 (London: Lawrence & Wishart, 1975), p. 403.

57. Friedrich Engels to Marie Engels, March 11, 1841, in ibid., p. 430.

58. Tristram Hunt, Marx's General: The Revolutionary Life of Friedrich Engels (New York: Metropolitan Books, 2009), pp. 2829.

59. Friedrich Engels to Schluter, May 15, 1885, in Karl Marx and Frederick Engels, Karl Marx and Frederick Engels: Letters to Americans, 18481895, Alexander Trachtenberg, ed. (New York: International Publishers, 1953), p. 145.

60. Hunt, Marx's General, p. 45.

61. Wilhelm Liebknecht, Karl Marx: Biographical Memoirs, Ernest Untermann, trans. (Chicago: Charles H. Kerr & Co., 1906), pp. 146, 149.

62. Karl Marx, A Contribution to the Critique of Political Economy, Salo Ryazanskaya, trans. (New York: International Publishers, 1979), p. 20.

63. Marx never finished his critical survey of Hegel's philosophy; the project's endpoint receded from Marx the more he worked on it. He did publish, in 1844, an Introduction to "A Contribution to the Critique of Hegel's Philosophy of Right," which, its tentative t.i.tle notwithstanding, finds Marx in his best pugilistic, aphoristic style. It is here that, combating Hegel's focus on the Absolute, Marx tosses his most famous antireligious grenade, calling religion "the opium of the people." But the next sentence makes it clear that what Marx is really against is the false comfort he senses in Hegel's history, how it seems to let the present off the hook in favor of an Ideal in the future. "The abolition of religion as the illusory happiness of the people," Marx writes, "is a demand for their true happiness" (Marx, Critique of Hegel's "Philosophy of Right," Joseph O'Malley, trans. and ed. [Cambridge University Press, 1977], p. 131.) Feuerbach's subject-predicate stratagem fits hand in glove with Marx's disdain for religion: Hegel's insistence on the agency of the Absolute is inverted into man's invention of the divine.

64. Friedrich Engels, Dialectics of Nature, C. P. Dutt, trans. (New York: International Publishers, 1960), p. 27.

65. Karl Kautsky, Terrorism and Communism, W. H. Kerridge, trans. (http://www.marxists.org/archive/kautsky/1919/terrcomm/index.htm), chapter 8.

66. Leon Trotsky, Dictators.h.i.+p vs. Democracy (Terrorism and Communism): A Reply to Karl Kautsky (New York: Workers Party of America, 1922), p. 45.

67. T. S. Eliot, "Tradition and the Individual Talent" (1922), as quoted in Slavoj iek, In Defense of Lost Causes (London and New York: Verso, 2008), p. 313.

68. A. B. Marx, "A Few Words on the Symphony and Beethoven's Achievements in This Field," in Senner et al., The Critical Reception of Beethoven's Compositions, vol. 1, p. 75.

69. Anatoly Lunacharsky, On Literature and Art, Avril Pyman and Fainna Glagoleva, trans. (Moscow: Progress Publishers, 1965), p. 112.

70. Amy Nelson, Music for the Revolution: Musicians and Power in Early Soviet Russia (Pennsylvania State University Press, 2004), p. 187.

71. Richard Taruskin, "Public Lies and Unspeakable Truth: Interpreting Shostakovich's Fifth Symphony," in Shostakovich Studies, David Fanning, ed. (Cambridge University Press, 1995), p. 29.

72. Quoted in Alan N. Nothnagle, Building the East German Myth: Historical Mythology and Youth Propaganda in the German Democratic Republic, 19451989 (University of Michigan Press, 1999), p. 77.

73. "Back Into the Darkness," Time, September 6, 1968, http://www.time.com/time/magazine/article/0,9171,900324,00.html.

74. See Sheila Melvin and Jindong Cai, Rhapsody in Red: How Western Cla.s.sical Music Became Chinese (New York: Algora Publis.h.i.+ng, 2004), pp. 23134.

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 h.o.m.o, 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. 27374.

84. Nietzsche, Thus Spoke Zarathustra, R. J. Hollingdale, trans. (London: Penguin Books, 2003), pp. 17879.

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 Kohler, Richard Wagner: Last of the t.i.tans, 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 h.o.m.o, Walter Kaufmann and R. J. Hollingdale, trans. (New York: Vintage Books, 1989), p. 247.

91. Nietzsche, Human, All Too Human, pp. 9798.

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.