The German Genius

This has been much examined by specialist historians. For a bibliography, see Introductions to the Wissenschaftslehre and Other Writings, 1797–1800 , ed. and trans. Daniel Breazeale (Indianapolis, Ind.: Hackett, 1994), pp. xlvff.
52. J. G. Fichte, Foundations of Transcendental Philosophy , trans. and ed. Daniel Breazeale (Ithaca, N.Y.: Cornell University Press, 1992).
    C HAPTER 6: T HE H IGH R ENAISSANCE IN M USIC :
T HE S YMPHONY AS P HILOSOPHY
     
1. Wolfgang Victor Ruttkowski, Das literarische Chanson in Deutschland (Bern/Munich: Francke, 1966).
2. Harold C. Schonberg, Lives of the Great Composers (London: Davis-Poynter/Macdonald Futura, 1970/1980), p. 616.
3. Ibid., p. 618.
4. Ibid., p. 620.
5. It was felt that the popularity of the piano in the early 1800s threatened the health of other instruments. See David Gramit, Cultivating Music: The Aspirations, Interests, and Limits of German Musical Culture, 1770–1848 (Berkeley: University of California Press, 2002), p. 136.
6. Schonberg, Lives of the Great Composers , p. 622.
7. Ibid., p. 624.
8. For a musical comparison of Gluck’s work just before Alceste , see Jack M. Stein, Poem and Music in the German Lied from Gluck to Hugo Wolf (Cambridge, Mass.: Harvard University Press, 1971), pp. 29–32. See also Hans Joachim Moser, Christoph Willibald Gluck: Die Lestung, der Mann, der Vermächtnis (Stuttgart: Cetta, 1940), p. 323.
9. Schonberg, Lives of the Great Composers , p. 624.
10. Ibid., pp. 625–626.
11. For late Haydn, see Hans-Hubert Schönzler, ed., Of German Music (London: Oswald Wolff, 1976), p. 92, and Sieghard Brandenburg, ed., Haydn, Mozart & Beethoven: Studies in the Music of the Classical Period; Essays in Honour of Alan Tyson (Oxford: Clarendon Press, 1998).
12. Peter Gay, Mozart (London: Weidenfeld & Nicolson, 1999), pp. 109f. Also Robert W. Gutman, Mozart: A Cultural Biography (London: Secker & Warburg, 2000), pp. 668ff.
13. Schonberg, Lives of the Great Composers , p. 628.
14. For a comparison between Gluck and Mozart, see Adolf Goldschmitt, Mozart: Genius und Mensch (Hamburg: C. Wegner, 1955), pp. 288ff. And for Gluck’s influence on Mozart, see Gutman, Mozart , p. 571.
15. Alfons Rosenberg, Die Zauberflöte: Geschichte und Deutung von Mozarts Oper (Munich: Prestel, 1964). Hugo Zelzer tells us that between the first night on September 30, 1791, and November 1792, there were more than 100 performances and that the work was performed in Weimar under the direction of Goethe. “German Opera from Mozart to Weber,” in Schönzeler, ed., Of German Music , p. 127. For a flavor of the reception of Mozart’s operas, see Cliff Eissen, New Mozart Documents: A Supplement to O. E. Deutsch’s Documentary Biography (London: Macmillan, 1991).
16. Schonberg, Lives of the Great Composers , p. 630.
17. Ibid., p. 631.
18. David Wyn Jones, The Symphony in Beethoven’s Vienna (Cambridge: Cambridge University Press, 2006), p. 264.
19. Estéban Buch, Beethoven’s Ninth: A Political History , trans. Richard Miller (Chicago: University of Chicago Press, 2003). See also Celia Applegate and Pamela Potter, eds., Music and German National Identity (Chicago: University of Chicago Press, 2002), p. 8.
20. Schonberg, Lives of the Great Composers , p. 632.
21. For Schubert’s influence, see Scott Messing, Schubert in the European Imagination. 2 vols. (Rochester, N.Y.: University of Rochester Press, 2007). See vol.1, pp. 199f., for the responses to Schubert’s death.
22. Charles Fisk, “What Schubert’s Last Sonata Might Hold,” in Jenefer Robinson, ed., Music and Meaning (Ithaca, N.Y.: Cornell University Press, 1997), pp. 179ff. See also Lorraine Byrne, Schubert’s Goethe Settings (Aldershot: Ashgate, 2003); Hermann Abert, Goethe und die Musik (Stuttgart: J. Engelharns Nachfolger, 1922).
23. Some of his views are set out in the Königliche kaiserliche privilegierte Prager Zeitung , no. 293, October 20, 1815.
24. Mark Evan Bonds, Music as Thought: Listening to the Symphony in the Age of Beethoven (Princeton, N.J.: Princeton University Press, 2006), p. xiii. See also Wyn Jones, Symphony , pp. 11–33. For the hierarchy of music, see Gramit, Cultivating , pp. 23–24; and Robinson, ed., Music .
25. Bonds, Music as Thought , p. 1.
26. Ibid., pp. 7 and 17.
27. For Beethoven’s earnings from his symphonies, see Ludwig van Beethoven, Briefwechsel: Gesamtausgabe , ed. Sieghard Brandenburg, 7 vols. (Munich: G. Henle, 1996), vol. 1, pp. 317ff. For the development of the