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 Cambridge,NewYork,Melbourne,Madrid,CapeTown, 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