A. B. Marx, Berlin Concert Life, and German National Identity

SANNA PEDERSON

Why does one go to a symphony concert? Not This modest historical observation, however, so long ago, the answer seemed self-evident: to leads to numerous complex ramifications. His- listen to the music on the program. But as a torians-particularly German literary histori- number of recent writers have argued,listening ans-have recently been tracing the emergence to music for its own sake is anything but "natu- of autonomous art with increasing attention to ral."' Indeed, as an expectation of "normal"con- its social, political, and economic implications.2 cert behavior it crystallized only about two cen- The emerging view, in brief, is this: at the end turies ago, as a corollary to what Carl Dahlhaus of the eighteenth century, new ideas were put has called "the idea of absolute music." forwardabout art-above all in Kant's Critique of Judgment-that described the aesthetic ob- ject as purposeless and the subject (the viewer, 19th-CenturyMusic XVIII/2(Fall 1994). o by The Regents the reader, the listener) as disinterested. This of the University of California. "functionless" role for art was in large part a negative reaction to the immediately preceding A version of this essay was read at the American Musico- logical Society meeting in Pittsburgh, 1992. I am grateful efforts of Enlightenment thinkers to implement to James Hepokoski for his editorial comments and sug- art as an instrument for the social good. These gestions. new aesthetic theorists, most prominently Karl 'See Hanns-Werner Heister, Das Konzert: Theorie einer Kulturform,2 vols. (Wilhelmshaven, 1983);Carl Dahlhaus, The Idea of Absolute Music, trans. Roger Lustig (Chicago, 1989); Leon Botstein, "Listening through Reading: Musi- 2See, for example, the important essays in Aufklirung und cal Literacy and the Concert Audience," this journal 16 literarische Offentlichkeit,ed. ChristaBMirger, Peter B-irger, (1992), 129-45. and JochenSchulte-Sasse (Frankfurt,1980).

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions 19TH Philipp Moritz and Friedrich Schiller, rejected tution in more than the fact CENTURY bourgeois society MUSIC the idea that art should be judged by its effec- that works of art in this very society are pressed tiveness in pragmaticmatters-by, for instance, into service as instruments of schooling how popular a novel or poem was and how [Erziehung]and socialization."6 In short, even readily the "message" or moral was accepted.3 while claiming art's ability to withdraw from Opposing the concept of utility with that of the demands of instrumental rationality, its beauty, they countered the Enlightenment de- proponentswere setting up new social purposes sire to subordinate all things to the principle of and goals for this aesthetic enterprise. instrumental rationality-practical, means-ends To keep sight of this paradox while consid- rationality (the term is Max Weber's)-with ering the establishment of the modern sym- the theory of autonomous art. This new view phony concert, I shall adopt the strategy that held that the only purpose of art was to be treats art as an "institution." According to beautiful and to be experiencedas such.4Music's BMirger,a central theorist of this approach,this claim to "high art" status gained enormous focus can expose "the shaping influence of an ground during this aesthetic turn. What was institutionalized understanding of art on the regardedearlier as its most serious problem, its reproductionand reception of works."'7Biirger's nonrepresentational nature or lack of relation colleague, Peter Uwe Hohendahl, has tried to to the "real" world, came to be transformed distinguish institution theory from more tradi- into its most celebrated quality.5 tional reception history. According to Recent analysis has complicated this history Hohendahl, a study from the standpoint of the of aesthetics, however, by emphasizing how category of the institution of literature-and it autonomous art subsequently flourished by be- is an easy matter to transpose the key terms ing simultaneously perceived both as a purely into musical ones-should address: aesthetic object and as an available medium for furthering certain social projects. For ex- 1. the (social,economic, political) conditions under ample, just as music attained status as high art, which writingand reading occur; music instruction and musical organizations 2. the systemof conventionsand norms for reading and into an were seized on to help consolidate a middle- writing(without falling merely expli- class means of music cationof individualworks or authors); society by appreciating of the own As theorist Peter 3. the particularsignificance and function for its sake. the literary institutionwithin or its relationto other has observed with to German society, Birger regard institutions;and literature: "Nothing appears to contradict the 4. the historicityof the institutionof literatureit- idea that art is set up as an autonomous insti- self.8

Institution theory seeks not to legitimate or evaluate individual works but to provide a cri- 3For an important new, economic view of Schiller's and of the that underlies or consti- Moritz's turn against "instrumentalist" aesthetics, see tique ideology Martha Woodmansee, The Author, Art, and the Market: tutes the work. In adaptingthis method to study Rereading the History of Aesthetics (New York, 1994). music, then, "absolute music" would be lo- 4The crucial text that precedes Kant in defining the cated not in the works themselves but in the "purposivelessness"of art is KarlPhilipp Moritz's "Versuch einer Vereinigungaller sch6nen Kiunsteund Wissenschaften way that institutions focused the social percep- unter dem Begriff des in sich selbst Vollendeten" (1785), tion of musical works as absolute. where he declares that the beautiful object "has no extrin- sic purpose. It is not there to fulfill anything else, but it exists on account of its own perfection. We do not con- template it to discover what use we may make of it; we use it only to the extent that we can contemplate it" 6PeterBiurger, "The Institution of Art as a Category of the (Music and Aesthetics in the Eighteenth and Early-Nine- Sociology of Literature,"in Peter Birger and ChristaBilrger, teenth Centuries, ed. Peter le Huray and James Day [Cam- The Institutions of Art, trans. LorenKruger (Lincoln, Neb., bridge, 1981], p. 187). 1992), p. 10. 5See M. H. Abrams, The Mirrorand the Lamp: Romantic 7Biirger,"The Institution of Art," p. 6. Theory and the Critical Tradition (New York, 1958), pp. SPeterUwe Hohendahl, Building a National Literature: 88-94, for a classic account of music's role in this aes- The Case of Germany, 1830-1870, trans. Renate Baron thetic turn. Franciscono(Ithaca, N.Y., 1989), p. 34.

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions My own attempt to explore the institutional coincidentally) music criticism and the sym- SANNA PEDERSON aspects of the symphony and the symphony phony concert took shape as institutions con- A. B. Marx concert-that is, the extramusical consider- stitutive of autonomous art music. During this and Berlin Concert Life ations that endow works with "aesthetic es- period no one worked more zealously toward sence"-will focus on the nationalism inher- having Beethoven's symphonies performedand ent in the German theory of absolute music. appreciated than the Berlin music critic Adolf From this perspective we may witness an at- Bernhard Marx. Although he is remembered tempt to constitute art music not only aes- today more as a music theorist, Marx began his thetically but also as a relation of nations: at career as the eager editor of the Berliner all- the same time that autonomous music was gemeine musikalische Zeitung, which began being defined as distinctly and qualitatively appearing in 1824.10 His basic strategy was to different and better than entertainment music, delimit the symphony by positioning its German music was being proclaimed as high "other," foreign opera, and by establishing this art by designating foreign music as frivolous, other's undesirablenature. Rossini was his main unsubstantial, and unworthy. Aesthetic and target, but his treatment of Spontini reveals national categories of distinction coincided, the same approach.The obverse of this strategy overlapped, and blurred. What further compli- was to champion the symphony as a national cates the matter is the way that this confusion treasure and the symphony concert as an edify- of categories continues into the present. ing experience. Dahlhaus, for instance, has observed that "the idea of absolute music-gradually and against ROSSINI: THE ANTITHESIS OF THE SYMPHONY resistance-became the esthetic paradigm of German musical culture in the nineteenth cen- The ostensible antithesis to "the idea of abso- tury."9 I would like to suggest the reverse: it lute music" is music dependent on occasion or was the idea of a German musical culture that- text. This assumption, for example, lies at the gradually and against resistance-became the core of much of Dahlhaus's work, who empha- paradigm of absolute music in the nineteenth sized the difference between the musical century. My premise is that "the idea of abso- "work" and the musical "event"; that is, be- lute music" arises primarily out of the correla- tween score-orientedand performance-oriented tion of two systems of differences: one of func- music." Such a claim, though, presumes that tion (music for its own sake as opposed to other this difference lies in the music itself rather kinds of music); the other of nation (German than in the way the music was and is treated. music as opposed to that of other countries). For Dahlhaus, therefore, musical works have Absolute music is distinguished not so much an aesthetic essence, and musical events do by intrinsic properties but on the basis of what not; events can be of historical documentary it (presumably) is not. Therefore, the absence interest, but it would be misguided to classify of non-Germanic music in the realm of "abso- them as absolute music. His primarily evalua- lute" music is hardly an accident; rather, this tive interest in the distinction surfaces when very concept was shaped by a new, exclusion- he accepts uncritically the descriptions of per- ary ideology directed at other nations. formance-oriented music as ephemeral enter- This claim may be supported by examining tainment and of score-oriented music as wor- the ways in which nationalistic music criti- thy of a place with literature and the visual cism nourished an audience for the symphony arts. Because he does not distinguish his own concert in early nineteenth-century Berlin. A strong connection between nation and sym- phony-or more precisely, between nation '0Fora detailed account of Marx's journal and its role in the early reception of Beethoven's works, see Elisabeth building and concertgoing-was forged during Eleonore Bauer, Wie Beethoven auf den Sockel Kam: Die Beethoven's lifetime, a period during which (not Entstehung eines musikalischen Mythos (Stuttgart,1992). "Dahlhaus, "The Twin Styles," Nineteenth-Century Mu- sic, trans. J. BradfordRobinson (Berkeleyand Los Angeles, 1989), pp. 8-15, and Foundations of Music History, trans. 9Dahlhaus, The Idea of Absolute Music, p. 9. J. BradfordRobinson (Cambridge,1983), pp. 4-5.

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions 19TH categories from the historical ones he is de- type of argument, which took an ascetic rather CENTURY MUSIC scribing, his own work reproduces nineteenth- than aesthetic position: here he emphasized century strategies to define and preserve high the morally superior stance of renouncing plea- art music.12 surable sensations. Within Marx's ascetics, During Beethoven's lifetime, the antithesis Rossini's only value was to serve as an exem- of the symphony was recognized in Berlin as plary warning of what would happen when su- non-German opera. For the Berlin critics, this perficiality and indolence took over.15He pre- meant, above all, the operas of Rossini, which dicted gloomily: "Ifone gives an audience noth- dominated all of Europe,and those of Spontini, ing other than Rossini and similar music, it which dominated more locally. The figurative will ultimately ruin the opportunity for any- language used by these critics reveals how this thing better; it will teach and accustom them supremacy was no mere matter of aesthetics: to be satisfied with fleeting sensual pleasure foreign operawas describedas nothing less than and will give up for lost the deeper and more the enemy invading German lands. In 1830 the inner receptiveness."16 critic R. O. Spazier recounted with pride that Marx's third main line of argument against although Munich, Dresden, and Vienna had Rossini employed the even more formidable fallen to Rossini, Berlin was a fortress that still weapons of Hegelian historical-philosophical held. The city's shields were Weber, Gluck, reasoning. Marx's more speculative writing- and certain "masterworks" that kept critics typically found in his end-of-the-year editori- and people free of the delirium.'3 als-often echoed the section on "World His- The citadel of Berlin was reinforced by the tory" from Hegel's Philosophy of Right (1821; paperblockade of Marx'sjournal, all seven years Hegel also lectured at Berlin University on the of which (1824-30) battled with righteous fer- topic during the academic years 1822-23 and vor against the popularity of Rossini. Marx em- 1824-25).17As was the case in the Phenom- ployed three main strategies of denunciation; enology of the Spirit, the Philosophy of Right all relied on the fact that Rossini was Italian. charts the progress of the spirit, whose goal is First, Marx insisted that these operas were dis- to arrive at full ethical self-consciousness or agreeable for aesthetic reasons: the Germans Sittlichkeit, defined as the true consciousness valued the dramatic aspect of opera above all of freedom.In "WorldHistory," Hegel described and Rossini simply had no dramatic sense. Nor how the world spirit progressed through in- were the characters and the plots natural or creasinglyhigher states of consciousness, which true to life.14But perhaps sensing that such an were not represented by individuals but by the abstract theory of drama was of little use in spirits of different peoples, communities, or persuading Germans to renounce their favorite nations (Volksgeister).18 Each stage of the composer, Marx often switched to a second

'5"Uns aber soll der reichbegabte Rossini ein warnendes Beispiel sein, wohin Oberflichlichkeit und Schlaffheit '2This point is also made by James Hepokoski in "The selbst bei der gliicklichsten Anlage fiihren"(Marx, "Rossini Dahlhaus Projectand Its Extra-musicologicalSources," this und die diebische Elster,"p. 37). journal 14 (1991), 221-46. 16"Mangebe einem Publikum nichts als rossinische und '3"Dorthielt sich, am Anschauen unverdringterMeister- ihnliche Musik, so wird es endlich fiir alle bessere werke erstarkt, Kritik wie das Volk vom Taumel frei. Von verdorben werden; es wird lernen und gewohnen, an dort aus ward sein Reich zerstirt, thronte niemals, augenblicklichemSinnengenu.B sich zu befriedigenund die verschwand am Ersten wieder" (R. O. Spazier, "Scherz tiefere und innigere Empfanglichkeitwird verloren gehn" und Ernst-Bemerkungen uiber Nationalitit in der dra- (Marx,"Kibnigstadtisches Theater: Berlin, den 24. August," matischen Musik, iiber die Verhiltnisse der dresdner BamZ 2 [1825],281). deutschen und italienischen Oper u.s.w.," quoted by Marx '7See Allen Wood's introduction to G. W. F. Hegel, Ele- in "Streit zwischen der deutschen und italienischen oper ments of the Philosophy of Right, ed. Wood, trans. H. B. in Dresden," Berliner allgemeine musikalische Zeitung Nisbet (Cambridge, 1991), p. xxxiv; and Arno Forchert, [hereafterBamZ] 7 [1830],34). "Adolf Bernhard Marx und seine Berliner allgemeine 14"Wasder Deutsche von einer Opera begehrt, wahre, musikalische Zeitung," in Studien zur Musikgeschichte naturgemaBe Empfindung, Haltung der Karaktereu.s.w., Berlins im friihen 19. Jahrhundert, ed. Carl Dahlhaus daran hat Rossini niemals gedacht-wenigstens nicht (Regensburg,1980), pp. 387-88. ernstlich" (Marx, "Rossini und die diebische Elster auf '8SeeHegel, Philosophy of Right, sections 341-53, pp. 372- dem BerlinerTheater," BamZ 2 [1825],22). 77.

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions progress of the spirit favored a given nation next to the unbowed and untempted. And that SANNA PEDERSON whose people during that time would function knowledge should remind us that the picture A. B. Marx as center and focus of world history-as had of Italian life in their operas can hardly also be and Berlin Concert Life occurredmost powerfully and immediately with the image and the idea of our life.'"21 the French Revolution. In Hegel's view, after In the same year, Marx presented an even the struggle for absolute freedom had been ar- more extreme argument in a review of a book ticulated in France, the world spirit had moved on the vocal techniques of different nations. on to Prussia, whose government and society, Here he elaborated at length the reasons why he believed, would come to embody the world Germans should avoid Italian music: the rea- spirit more perfectly. sons essentially rested on the idea that Ger- mans and Italians necessarily had antithetical MARX'S THEORY OF NATIONAL DIFFERENCES natures because the former were located in the north, the latter in the south. Under the hot Like Hegel, Marx also began with the premise sun, Marx explained, the Italians had devel- that the world was progressingas a whole, with oped more flammable natures-unstable, ex- the spirit of the age appearingin different ways citable, easily satisfied. Never having felt a need in different nations. Thus in 1825 Marx argued for higher or more abstract ideas, Italians had that the Germans should have little to do with been caught up and satisfied with their own Rossini because their spirit had progressedfur- individuality.22Thus Rossini, as their most char- ther and higher: "Insofar as we Germans now acteristic composer, expressed only his person- certainly stand spiritually higher than Italy with ality and could neither develop nor sustain the its Rossini, so it is certain that the desire for ideas that were implicit in his operas.23On the higher music lies in us and will be satisfied."19 other hand, as northerners, Germans had had He argued further, their nature shaped differently:

In Italy Rossini's operas must take root, for do the [The northerner's]life is no game,it demandsseri- people of Italy have any tendency today other than ousness.He is not the darlingof nature,but rather that which lives in Rossini? For this reason he has its proudruler. He has been raisedand strengthened been occasionally referredto as the composer of his in a harsherschool, and the less he findssatisfaction nation.... With us everything is different. We can be amused by Rossini's operas as sensual pleasure, but cannot value them as artworks comparable to Gluck and Mozart, for then we would first have to Geisteskultur so belebt und vorschreitend ist" (Marx, forget what music can be for the spirit and the heart "KbnigstadtischesTheater," pp. 281-82). and what we seek and desire in every artwork-and 21"Esist der gefallene Mensch neben dem ungebeugten that is not so where a cul- und unverfiihrten.Und das Bewusstsein soll uns erinnern, forgotten easily spiritual dass auch das italischen Lebens in ihrer ture is so and so advanced.20 Bild Oper nicht lively das Abbild oder gar das Ideal unsers Lebens sein kann" (Marx, "Streit zwischen der deutschen und italienischen In Marx's moralistic view, the Italian, com- Oper in Dresden,"BamZ 7 [1830],37). pared to the German, was "the fallen person 22"Dieheit~ere Sonne, die durchgliihtere,darum aber auch leichter sich in sich verzehrendeZone des Sfidens hat dem Italiener eine leichtere, erregtere, aber auch weniger befestigte und widerhaltige Natur gegeben. JederSinn und '9"SogewiBi nun wir Deutschen geistig h6her stehen, als jedes Organ hat in ihm erh6htes Leben, theilt der Seele Italien mit seinem Rossini, so gewiBiruht in uns das Ver- schnell aufwallendes Gefiihl, dem Geiste einen schnellen langen nach einer h6hem Musik und wird sich befriedigen" Schwung der Phantasie mit, um dann rascher und (Marx,"Rossini und die diebische Elster,"p. 23). entschiedener zur Ruhe-zur Abspannung zuriick- 20"InItalien muite die rossinische Oper wurzeln; denn zukehren" (Marx, review of "Vollstindige Singschule in hat wol das Volk von Italien heute eine andre Tendenz, vier Abtheilungen, mit deutschen, italienschen und als, die in Rossini lebt? Darum ist er schon bei anderer franz6schschen Vorbemerkungenund Erliuterungen von Gelegenheit der Komponist seiner Nation genannt worden. Peter von Winter u.s.w.," in BamZ 2 [1825], 158). ... Bei uns ist das alles anders. Uns kann rossinische Oper 23"Rossiniist in der Sphareder italienischen Komponisten als Sinnenlust erjitzen [sic], nicht aber neben Gluck und geblieben und hier der erste. Er, der reichbegabtesteunter Mozart als Kunstwerk gelten; dazu miBten wir erst ihnen, giebt iiberall sich und nur einfallsweise deutet er vergessen, was Musik dem Geist und dem Herzen sein hier und dort auf die Ideen, die den Inhalt seiner Opern, kann und was wir in jedem Kunstwerke suchen und Personen, Situationen abgeben sollten, stets auf sich begehren-und das vergift sich nicht so leicht, wo die zuriickkehrend"(Marx, "Vollstandige Singschule," p. 159).

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions 19TH in paltry offerings, the more it delights him to leave where one could forget oneself in comprehend- CENTURY the realm of more MUSIC subjective, trifling kinds of satis- ing the aesthetic object. This was evident in faction for the endless realm of ideas. In order to both Italian singers and composers, who cared the southerner's he with acquire spirit, struggles little about the music itself, but instead re- what is and was there in orderto a truer put together it as an for self- for himself and create a and richer garded merely opportunity picture higher of environment than that which the southerner him- indulgent expression their natural Italian sen- For this in Marx's all the self occupies. The tendency of northern-and in par- suality. reason, view, ticular German-art is to take everything up into music by Italian and Italianate composers, such itself, to re-createspiritually a true and perfect life.24 as Rossini, Mercadante, and Meyerbeer, sounded basically the same. Marx's claim is striking: the northern view- As for the French, their cold, impatient, and point gave access to nothing less than the abil- quick temperament had prevented them from ity to understand others better than they un- opening their inner being to music. Marx criti- derstood themselves. True, he acknowledged, cized both the French's inability to appreciate the northerner was certainly affected by the "independent" music-that without extramu- heat of southern music, but in a more inward sical associations-and their preference for sen- way, one that yielded insight into himself as sual delight and virtuosic display. Although well as into humanity and nature in general. In conceding that they had shown some enthusi- short, German music was capable of subsum- asm for Haydn, Marx argued that, if they had ing or (to use Hegelian terminology) sublating truly appreciated that composer, they should Italian music.25 have progressed by now to an enthusiasm for In another essay from 1826, Marx assessed Mozart and Beethoven.27 Moreover, because the the self-consciousnesses of Italy and France and French had always relied on the intervention of found them -far behind that of Germany.26 At foreigners for their music, they lacked a music present, Italy's character was at a stage of ego- they could call their own. This lack of charac- tism, where personal affairs absorbed the people ter placed the French below the Italians.28 Simi- at the expense of public or more general con- larly, in other articles Marx frequently cited cerns. Italians participated fully and passion- England as a country without a pronounced ately at the sensual level but could not progress musical character, whose focus on external re- beyond this-and certainly not to the stage wards had inhibited its spiritual life. In his "standpoint" article two years earlier in 1824, Marx had subordinated England and France to 24"SeinLeben ist kein Spiel, es fodert Ernst; er ist nicht Germany on the basis of the progression of the das SchoBkind der Natur, sondern ihr selbstbewuBter world spirit: Gebieter; in strengerer Schule hat sie ihn gekriftigt und erhoben; und je weniger er an den spdirlichen Gaben Gentigen finden kann, desto mehr reizt es ihn, aus dem England,whose sons have never produced anything Kreise subjektiver diirftiger Befriedigung hinaus in das distinguished for music, who regularly borrow and unendliche Reich der Ideen einzuschreiten. Was da ist und buy from foreigners, appear on this account not as ringt er, in wahrer Gestalt um sich zu versammeln, war, remarkableas France,which has begun to graspthat und eine h6here und reichereUmgebung, als der Siidlinder besitzt, seinem Geiste zu erwerben. In sich alles auf- it can also learn and take from other countries, par- zunehmen, alles zu einem wahren und vollkommenen ticularly Germany. The earlier settlement makes Leben geistig wieder zu erschaffen, ist die Tendenz der amends for it through a residue that will now be und namentlich der deutschen Kunst" nordischen (Marx, especially obvious so that they gaze at works and "Vollstandige Singschule," p. 159). Compare this to far Wagner's statement in his 1840 essay "On German Mu- hardly realize that for a long time they have been sic": "It is possible for the Germanmore than any other to go to another country, develop the aims of a nation's artis- tic epoch to the highest peak and raise it to universal validity" (RichardWagner, "Ober deutsches Musikwesen," 27TheFrench, of course, would shortly become famous for in Dichtungen und Schriften,vol. V, ed. Dieter Borchmeyer their dedication to Beethoven, especially with FranCois- [Frankfurtam Main, 1983], p. 170). Antoine Habeneck'sperformances of Beethoven's sympho- 25"Allein-die deutsche Kunst schlieBt die italische nicht nies at the Societe des Concertsbeginning in 1828. See James aus, sondernein" (Marx,"Vollstindige Singschule," p. 168). H. Johnson,"Beethoven and the Birth of Romantic Musical 26Marx,"Olympia, groBe Oper in drei Akten, in Musik Experiencein France,"this journal 15 (1991), 23-35. gesetzt ... Klavier-Auszuge,"BamZ 3 (1826),366. 28Marx,"Olympia," p. 368.

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions surpassed by us. So an alliance is forming in the in the spiritual rather than in the economic, SANNA realm of from as its PEDERSON music, proceeding Germany political, or technological realms.31In this view, A. B. Marx middlepoint (as before from Italy) in all of higher the Germans' idealistic absorption in contem- andBerlin educated in all its circumstances ConcertLife Europe. Only Italy plating the beautiful had distracted them from is too enfeebled to associate spontaneously or can with other nations on a more mate- be on the end of the new life. The last competing only receiving rial level. rather than that has been in them Rossini is the Therefore, disputing spark ignited by relative Marx insisted strongest proof of their situation.29 Germany's backwardness, on it as a positive virtue. In defining his own Marx thus proclaimed Germany's new preroga- role as that of the emphatically German critic, tive as the most advanced in the progress of the he portrayed his chauvinism as ultimately be- Hegelian world spirit: it was to function as the nevolent, as something of a disinterested stance musical center of Europe, giving new life to the that would further European civilization: more enfeebled nations. Because its standpoint encompassed and surpassed all others, Germany It has appearedas our task to strive after the higher, could be called the only nation with a truly more comprehensive point of view, properto our age and our that is in the middle of universal musical point of view. Its task, then, fatherland, Europe, in its heart as it were, in order to take up and to was to take up everything musical in Europe bring everything that has arisen in our neighbors to and transform it to its own viewpoint, thereby a higher, more spiritual maturity. To develop these the of the world As furthering progress spirit. ways of looking at things will be the chief task of in of German stated "Description Criticism, by our paper.32 an Englishman," in Marx's journal (1829), "the Germans have reached a point at which no In 1828 he reminded his readers that he had other nation has yet arrived .... To ask them founded his journal on the belief that Berlin, for what use [poetic beauty has] would be blas- currently at the forefront in scholarly and artis- phemy for the Germans, like inquiring into the tic activity, deserved it: "The capital of the use of divinity, religion and virtue, since for fatherland, that is even now one of the most them the poet stands truly at the height of important central points in Europe for art and humanity and is their king!"30 This approach science [Wissenschaft] and is heading with cer- tried to finesse the problem that Germany's tain steps to an even higher goal, was also suited achievements, compared to other nations, were for an organ devoted exclusively to the con- cerns of music."33

29"England,dessen S6hne nie bedeutendesfor die Tonkunst geleistet haben, das in dieser Sphire stets von Auslhndern 31Fora discussion of how Germany has historically been lieh und kaufte, erscheint desswegen nicht so be- conceptualized as an essentially "spiritual"or cultural na- merkenswerth, als Frankreich,das zu begreifen anfingt, es tion, see Horst Ehmke, "What is the Germans' Father- kinne auch vom Auslande und namentlich von land?" in Observations on "The Spiritual Situation of the Deutschland lernen und empfangen. Die friihere Age":Contemporary German Perspectives, ed. JiirgenHa- AbschlieBung biifit es durch ein Zuriickbleiben, das nun bermas, trans. and intro. Andrew Buchwalter (Cambridge, erst recht augenfdilligwird, da es Werkeanstaunt und kaum Mass., 1984), pp. 309-32; see also the special issue on faBt, die bei uns liingst und weit iiberboten sind. So bildet German unification, ed. Stephen Brockmann and Anson sich im ganzen h6her gebildeten Europaeine Verbindung Rabinbach,New German Critique 52 (Winter, 1991). im Fache der Tonkunst, wie frifher von Italien, jetzt von 32"Dieh6here, umfassendereAnsicht zu erstreben,geziemt Deutschland, als dem Mittelpunkte, ausgehend.Nur Italien unserer Zeit und unserm Vaterlands,das, in der Mitte von ist nach allein seinen Verhdiltnissenzu geschwdicht,um Europa,gleichsam sein Herz, alles, was bei den Nachbarn sich dem neuen Leben selbstthiitig, oder nur empfangend ersteht, im sich aufzunehmen und zu h6herer geistiger zuzugesellen. Der letze Funke, der sich ihm in Rossini Reife zu bringen, zur Aufgabe zu haben scheint. Diese An- entziindet hat, beweiset am stirksten seinen Fall" (Marx, sichtsweise zu entwickeln, wird eine vorziigliche Aufgabe "Andeutung des Standpunktes der Zeitung. (Als Epilog.)," unserer Zeitung sein" (Marx, "Ueber die Anfoderungen BamZ 1 [1824], 447-48). unserer Zeit an musikalische Kritik;in besonderm Bezuge 3011Wohinnoch keine Nation gekommen ist, dahin sind auf diese Zeitung," BamZ 1 [1824], 19). die Deutschen gedrungen ... und nach ihrem Nutzen zu 33"DerHauptstadt seines Vaterlandes, die schon jetzt fir fragen,ware for den Deutschen Blasphemie,wie etwa nach Wissenschaft und Kunst einer der wichtigsten Zent- den Nutzen der Gottheit, der Religion und Tugen zu ralpunkte Europa'sist, und sichern Schrittes einem noch forschen; fuirsie steht der Dichter wahrhaft auf den HOhen h6hern Ziel entgegengeht, ziemte auch fur die Angel- der Menschheit und ist ihr K6nig!"("Schilderung deutscher egenheiten der Tonkunst ein eignes Organ" (Marx, Kritik, von einem Englinder," BamZ 6 [1829], 15-16). "Standpunktder Zeitung," BamZ 5 [1828], 493).

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions 19TH THE CASE OF SPONTINI proved to be especially influential. In 1815, CENTURY MUSIC while Spontini was still in Paris, Hoffmann Gasparo Spontini's arrival in Berlin in 1819 had written a negative review for the Leipzig presented a more complex challenge than did Allgemeine musikalische Zeitung that con- Rossini to the arbiters of north-German musi- demned Spontini on the basis of his use of cal taste. As a French citizen born in Italy who melody, harmony, orchestration, rhythmic fig- occupied one of the most powerful musical ures, and keys; every aspect was found want- positions in Germany, he obviously posed a ing. "Because of all of this," wrote Hoffmann, problem for a simple categorization by nation. "it seems to me that Spontini's music is com- Despite the more complicated situation, how- pletely lacking in inner truth, and that this ever, an examination of Spontini's treatment explains why it cannot deeply touch the feel- by the Berlin critics yields more evidence for ings of the listeners."37These early criticisms the emphatic way in which these critics distin- were to be repeatedly invoked in subsequent guished German from foreign music. attacks on Spontini by other critics. Hoffmann Spontini came from Paris at the invitation of himself, however, made a baffling reversal in his royal admirer, the Prussian King Friedrich 1820 and hailed the composer's imminent ar- Wilhelm III,and was given an extravagantyearly rival in Berlin as a joyous event. The fulsome salary of 4,000 thalers, with the title "Inten- "Greeting to Spontini" Hoffmann published in dant der K6niglichen Schauspiele."34The man- the Berlin Vossische Zeitung that year dismayed ager of the theater, Count von Brfihl, tried re- and perplexed many of his colleagues.38 peatedly to engage Carl Maria von Weber, but Despite Hoffmann's new allegiance to was unsuccessful because of the political sensi- Spontini (which, in any case, was cut short by tivity surroundingWeber, who was best known the former's death in 1822), Spontini's treat- at that time for his war songs. Instead of the ment by others remained generally hostile and popular and patriotic Weber, then, Berlin found became even vicious with Ludwig Rellstab's itself with a one-time favorite of the Empress mid-decadeattacks. Rellstab's antagonistic, bit- Josephine.Spontini, who never learned the Ger- ingly sarcastic approach-a style identified and man language and by all accounts had a poor celebrated as specifically "Berlinish"-made sense for public relations, was unpopular from him one of the most feared and respected mu- the beginning.35Many of his conflicts were with sic critics of the time.39 His review of Agnes Briihl, but his most publicized confrontations were with' Weber, whose premiere of Der Freischiitz had eclipsed the success of Spontini's 37"Nach allem diesem scheint es mir, daB es der in 1821. Rumors that was SpontinischenMusik ginzlich an innererWahrheit mangle, Olympia Spontini und daB hieraus es sich dann von selbst warum to further of Der erklare, trying prevent performances sie nicht tief in das Gemiit des Zuh6rerseindringen k6nne" Freischiitz and to hinder the premiereof Weber's (Hoffmann,"Briefe fiber Tonkunst in Berlin:Erster Brief," in Berlin caused his standing to de- in Schriften zur Musik: Nachlese, ed. Friedrich Schnapp Euryanthe [Munich, 1963], p. 288. The article originally appearedin teriorate even further.36 the Leipzig Allgemeine musikalische Zeitung [hereafter For many of the anti-Spontini Berliners, AmZ] 17 [1815], 17-27). E. T. A. Hoffmann's criticisms of Spontini 38Hoffmann,"GruB an Spontini," in Schriften zur Musik, past p. 338. For a theory of why Hoffmann changed his opinion so dramatically, see Libby, Gaspare Spontini and His French and German Operas, pp. 260-77. In brief, Libby Zur im Ber- that Hoffmann did not so much change his view 34JfirgenRehm, Musikrezeption vormdrzlichen suggests lin: Die Priisentation biirgerlichen Selbstverstiandnisses of the music as of the situation in Berlin. By the time und biedermeierlicher Kunstanschauung in den Musik- Spontini arrived,another non-German composer even more kritiken Ludwig Rellstabs (Hildesheim, 1983),p. 113. loathed by Hoffmann-Rossini-had taken over Berlin au- 35Marx,Erinnerungen, 2 vols. (Berlin, 1865), II, 244. diences. Thus, Hoffmann may have decided to support 36Euryanthepremiered in Vienna on 25 October 1823, but Spontini in the hope that he would counteract Rossini, was not performed in Berlin until more than two years and that perhaps, under the influence of German musi- later, on 23 December 1825. For an account of the very cians such as himself, Spontini could be guided toward a complicated circumstances that delayed the Berlin pre- more true (i.e., German)conception of opera. miere, see Dennis Albert Libby,Gaspare Spontini and His 39See Arend Buchholtz, Die Vossische Zeitung: Ge- French and German Operas (Ph.D. diss., Princeton Uni- schichtliche Riickblicke auf drei Jahrhunderte (Berlin, versity, 1969), pp. 281-305. 1904), p. 98.

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions von Hohenstaufen in the BamZ in 1827 set off by giving Spontini an even-handed treatment. SANNA PEDERSON a series of bitter confrontations between the He issued lengthy articles on each of Spontini's A. B. Marx pro- and anti-Spontini factions.40Rellstab threw operas in the first year of his journal: while and Berlin Concert Life down the gauntlet with his opening remarks: some of these were critical of the operas, none was critical of Spontini himself.44 My opinionis this, that this workis to be considered While still proclaiming an official policy of a complete failure throughoutfrom beginningto neutrality, however, the journal shifted toward end, and a failure to a degreethat we have never the anti-Spontini position in 1826, when Marx seen before. Even the more recent operasby the reviewed the of same to be called works of piano-vocal arrangement Olym- composer(whose right pia.45 This wordy essay veiled its position in an art we wholly dispute)have been betterpropped up on and still have the over ambiguous tone. Marx spent the first install- manygrounds, advantage ment of the article his the operaunder discussion, especially because they nine-part establishing werebetter supported by the librettist.41 more objective approach by contrasting it to the attacks of other critics, who, Marx claimed, Although Rellstab savaged the libretto, he had had shed light on neither the work itself nor little to say about the music. The degree of the aesthetic issues it had raised. He then re- energy in Rellstab's critique seems to have been called that when the BamZ had been founded, kindled not so much by Spontini's music per se all the criticism of Spontini had been uniformly as by a frustration at the power wielded by a negative, and that he had realized it was "ur- foreigner not chosen by the people themselves. gently necessary" to present Spontini's works (Several years later Rellstab spent four months impartially by both pointing out their outstand- in jail for slander against Spontini.42) ing features and placing them in a historical Marx, on the other hand, tried to play both context of the development of art as a whole. sides of the Spontini Streit. Indeed, his per- Spontini will always be found wanting if he sonal acquaintance with and favorable disposi- continues to be judged by German standards, tion toward Spontini may have been a factor in Marx insisted; therefore we must judge him obtaining the editorship of the BamZ, which accordingto his Italian and French background. was underwritten by Spontini's publisher and Not long into the essay, however, this "disin- supporter, Adolph Schlesinger. In his memoirs, terested" historical view turned into a reitera- Marx devoted two chapters to reminiscences of tion of his theory of national differences.46Marx Spontini, in which he explained that, while went on to argue that if the foreigner was suc- others fell into petty factional disputes, he re- cessful, it must mean that the native product mained a nonpartisan who appreciated was lacking in some way. Therefore foreigners Spontini's impressive abilities, especially as a could be of use in helping a country realize conductor.43In the BamZ, Marx initially ex- what it lacked.47 hibited his frequently proclaimed impartiality By his fourth installment, Marx was ready to offer the hardly surprising judgement that Olympia representedthe combination of French and Italian artistic principles in the field of 40Ludwig Rellstab, "Kbnigliche Oper in Berlin: Ueber Spontinis neueste Oper," BamZ 4 (1827), 183-84, 189-90, 195-96, 205-08. 4111MeineMeinung ist die, daB dieses Werk ein durchaus von Angang bis zu Ende ganz miBlungenes zu nennen ist, 44BamZ1 (1824), 25-26, 33-34, 59-61 (Olympia), 75-78 und zwar in einem Grade miBlungen, wie wir noch kein (La Vestale), 119-22 (Nurmahal),145-48 (FernandCortez). Beispiel haben, indem selbst die neueren Opern desselben 45Marx, "Olympia, groBe Oper in drei Akten, in Musik Komponisten, denen wir durchaus den Namen der gesetzt... Klavier-Auszug,"BamZ 3 (1826), 349-51, 357- Kunstwerke streitig machen, aus manchen Griinder,und 59, 365-68, 378, 386-88, 395-98, 401-04, 409-11, 417-20. inbesondere weil sie vom Dichter besser unterstiitzt sind, 46In his second installment, Marx defended his use of na- noch den Vorzug vor dem in Rede stehenden haben" tional difference as the basis of his understanding of (Rellstab, "Ueber Spontinis neueste Oper,"BamZ 4 [1827], Spontini, at one point reproducingalmost entirely his ear- 183). lier description of Italy from the previous year: the para- 42Rehm,Zur Musikrezeption im vormiarzlichenBerlin, p. graphbeginning "Die heitere Sonne, die durchgliihtere"is 130. the same in BamZ 3 (1826),366, and BamZ 2 (1825), 158. 43Marx,Erinnerungen, I, 218-58; II, 1-17. 47Marx,"Olympia," p. 350.

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions 19TH grand opera.48The final installments discussed anything substantial in the entire genre [of the CENTURY music I the libretto at great length-it was found un- symphony]-they could never grow to like and dramatic and unconvincing in its characteriza- understand it; among other things, therefore, tion-and finally dealt cursorily with the mu- they have fallen far behind the Germans, for sic. Here Marx did little other than to repeat whom the symphony is characteristic."51 the charges of other critics-excessively regu- Not only was the symphony "characteris- lar rhythms and phrasing, incorrect part writ- tic" (eigen) of the Germans, Marx went so far ing, meaningless figuration-and to attribute as to declare that the symphony "could be iden- them to the French concept of drama. tified as virtually the exclusive property In sum, Marx's grounds for delegitimating [Eigenthum]of the Germans."52In order for the Spontini, who dominated Berlin, and Rossini, Germans to own exclusive rights to the sym- who dominated Europe,were only superficially phony, however, music itself had to assume a different. Rossini's supposed deficiencies lay in more objective existence. Music had previously his neglect of opera's dramatic side in favor of not fared well in aesthetics because of its lack an indulgence in lyric sensuality; Spontini's of tangible substance. In Kant's view, for ex- weaknesses were attributed to generally poor ample, music was as ephemeral as a scent on a compositional technique. In each case, how- handkerchief.53Hegel also expressed concern ever, these objections were traced back to their for how quickly the musical note as an exter- nation of origin. Ultimately, Rossini was to be nal sign vanished, how it was "cancelled at the avoided because he embodied the decadentspirit very moment of expression." "Things together of Italy, and Spontini was of little value be- in space can comfortably be seen at a glance," cause of his mixture of Frenchand Italian traits. Hegel observed, "but in time one moment has gone alreadywhen the next is there, and in this BUILDING A NATIONAL SYMPHONY AUDIENCE disappearanceand reappearancethe moments of time go on into infinity."54Therefore, music as the Just historical-philosophical argument seemed more an occasion for a performer to be used to for- could negatively, argue against exhibit taste and refinement in expression than it could also be used for eign opera, positively, an object representing a concrete and lasting the cultivation of the In 1826 Marx symphony. accomplishment.55 urged the German people to listen to the sym- phonies of Haydn, Mozart, and Beethoven not only for the music itself but also for them- s5"Darum haben leichtsinnigere Nationen, z.B., die selves as a nation: "We must be aware of Franzosen und Italiener, in der ganzen Gattung nie [sym- Erheblichesgeleistet, nie sie verstehen und liebgewinnen phonies] if we want to recognize our age and k6nnen; darum unter andern sind sie aber weit hinter den ourselves."49Two years earlier, he had written Deutschen zuriickgeblieben, denen die Symphonie eigen that the German to these ist" (M., "Korrespondenz:Berlin den 13. Dezember 1824," people's response BamZ 1 [1824],444). symphonies would inevitably be positive, be- 52Afterpraising the violinist Carl Miser for putting the cause the music would rouse a spirit "slumber- Eroica Symphony on one of his concerts, Marx continued, within. Other music would not meet with "Wirwollen nun sehen, wer ihm zundchst folgen und den ing" Kompositionen, welche geradezu ausschlieBliches Eigen- this recognition and would pass away like chaff thum der Deutschen genannt werden kinnen, so wie dem scattered by the wind.50 Similarly, other na- grf•Bten Meister in ihnen ihr Recht widerfahren lassen tions would not be able to to German wird" ("Korrespondenz:Berlin, den 28. April," BamZ 1 respond [1824], 163). works and, in particular,to the symphony: "The s53mmanuelKant, Critique of Judgment, trans. Werner S. more light-minded nations, for example, the Pluhar (Indianapolis,1987), sec. 53, p. 200. 54Hegel,Aesthetics: Lectures on Fine Art, trans. T. M. French and the Italians, have never produced Knox (Oxford,1975), II, 626, and I, 249 (see also II, 891-92). -5Inhis classic 1939 study of "The Civilizing Process," the sociologist Norbert Elias documented how the emerging 48Marx,"Olympia," p. 378. bourgeois Germany of the late eighteenth century distin- 49"Wirsie kennen mtissen, wofern wir unsere Zeit und guished its cultivation of tangible achievements in litera- uns selbst erkennen wollen" (Marx, "Standpunkt der ture and philosophy from the French "civilized" nobility's Zeitung," BamZ 3 [1826], 422). display of taste and behavior. See Elias, The History of SO"Berichte:K6nigstaidter Theater: Torwaldo und Dorliska," Manners (The Civilizing Process, vol. I), trans. Edmund BamZ 6 (1829), 45. Jephcott(New York, 1978), p. 9.

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions In order to music as a fixed object, Beethoven's symphonies in Berlin that decade. SANNA regard PEDERSON like any other artwork that could be owned, The concert reports for Berlin from the BamZ A. B. Marx Marx to advocate certain ways of treat- and the AmZ during 1824-30 mentioned eleven and Berlin began Concert Life ing the musical work. One of the most impor- performances of the Pastoral, with the Eroica tant was his insistence on performances of and the Fifth Symphonies the next most fre- multimovement works as continuous, inte- quently played, with eight performances each. grated wholes. As is widely known, during The importance of repeated performances, Beethoven's lifetime a symphony's first move- and particularly the significance of those of the ment was often treated as an overture to open a Pastoral, was taken up in Marx's indictment of concert, whereas the other movements ap- the concert business in 1825, "A Few Words peared, if at all, at various other points on the about Concert Life, especially in Big Cities." program.56Even as late as 1826, for instance, This article deserves to be quoted at length Johann Nepomuk Hummel gave a concert in because it articulates a decisively "modern" Berlin in which movements from Mozart's "Ju- concept of both the work and the concert. Marx piter" Symphony opened the two halves of the used the essay to distinguish between his pre- program.57A similar attitude toward concerts ferred type of concert and the more prominent and the pieces on them motivated Hummel to concerts of virtuosic display,which, he claimed, perform his own "Rondeau brillant" between "grant the listener nothing more than admira- the Summer and Fall sections of Haydn's orato- tion for a mechanical dexterity and that sen- rio The Seasons when it was given in Berlin sual pleasure that is as far removed from aes- around the same time.58 Although Marx was thetic enjoyment as animals from humans."60 not the first critic to censure the practice of In arguingfor the "purer"form of concert, Marx breaking up movements, his criticism repre- asked: sents the beginnings of a sustained effort to alter it. Mustthen always new piecesbe played?Only worth- Even more significantly, Marx called for re- less compositionsshould not be heardagain, and the peated performances of these complete works. preferenceof the concert giver for such works is the reason for the ill-mannered for the new. He argued that symphonies, especially those only craving could not be on first An artwork is new as long as it offers nourishment by Beethoven, grasped will hear- work was heard to our mind and heart. Many prove upon hearing: only when a complete to be will still be new after a hundred several times could it be One ing old; many comprehended. hearings. When so many operas in many cities ob- of the most consequential features of Berlin tain fifty, a hundred performances, should not a music life in 1825 was the unprecedentednum- Beethoven concerto deserve ten performances? A ber of performances of Beethoven's Pastoral few of those attending the concerts will be in the Symphony. Within a span of five months the situation to understand such a work completely for piece was heard four times: first in March on the first time, and a few will hear it for the tenth the first Bliesener brothers subscription con- time without finding new pleasure in it. In Berlin we cert of the season; then on a subscription con- have recently seen an at least closely related ex- cert Carl M6ser in later ample. In Berlin, where symphonic works have been given by April; again the sense and educa- that month on a concert conducted by Spontini; neglected-thereby impairing fourth and tion of the public-the Pastoral Symphony by and finally at the end of July on the Beethoven was nevertheless times in one final Bliesener concert of the season.59The Pas- given four winter season.... This writer has spoken to many toral Symphony remained the most popular of musicians and friendsof art who misjudgedthe sense of the work after the first performance, taking in

56SeeKlaus Kropfinger,"Klassik-Rezeption in Berlin(1800- 1830)," in Studien zur Musikgeschichte Berlins im friihen 19. Jahrhundert,pp. 301-79, esp. 328-35. 60"Dieden Zuhorem nichts gewihrt, als Bewunderungeiner 57"Nachrichten:Berlin: Uebersicht des May," AmZ 28 mechanischen Geschicklichkeit und jenen SinnengenuB, (1826), 392-93. der vom Kunstgenuge so weit entfernt ist, wie-das Thier SSBamZ3 (1826), 132. vom Menchen" (Marx, "Einige Worte iiber das Konzert- 5911Korrespondenz,"BamZ 2 (1825), 95, 138, 144, 259, 358. wesen, besonders in grofien Stdidten,"BamZ 2 [1825], 350).

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions 19TH nothing, trying to see much foolishness in the comi- appeared on the program: "Many concert CENTURY cal who then after the second MUSIC parts, performance attenders may wonder that the undersigned became conscious of many individualbeautiful parts, places such an importance on this work, which and reached the idea and the of finally magnificence was silently passed over, while every move- the whole. shouldn't this with Why happen good ment of the Lafont and Mercadante was ap- concert pieces? What can be more simple than the plauded out of well-deserved enthusiasm for immortal Adagio in Beethoven's G-MajorConcerto? the The overture's failure, he in- This delighted the writer the first time he read it in performer."62 was due to two factors: it was hard to score; and after hearing it three times, he still did sisted, not dare to presume that he had grasped its entire hear the orchestra because of the noisy audi- profundity.61 ence and the inadequate number of players; and-more important-the audience lacked the Marx's defensive tone, implying that he antici- education and the familiarity necessary for un- pated resistance, bears witness to the "new- derstanding Beethoven. "It could hardly be ex- ness" of the idea of repeated listenings. He pected that a great many of the audience would soon became more confident, however, and later fall in with such a profound work on first hear- in 1825 he refused to apologize for devoting a ing without preparation. Only when we in Ber- concert review largely to Beethoven's Overture lin have come as far as Leipzig, where year- to Coriolan when other more popular items round all the Beethoven symphonies and those by other masters are performed, will then the sense of the public for such artworks be sharper and more responsive."63 61"MuB denn immer Neues gespielt werden?Nur werthlose man nicht wieder und aus der Kompositionen mag h6ren ORGANIZERS AND PERFORMERS Neigung der Konzertgeberzu solchen Werkenist allein ihr ungezfigelterDrang zu Neuem entstanden. Ein Kunstwerk OF THE SYMPHONY IN BERLIN ist so lange neu, als es unserm Geist und Herzen Nahrung Manches wird schon in der Probe alt gewihrt. befunden, Marx's most in his manches wird nach hundertmaligemH6ren noch neu sein. important ally symphony Wenn so manche Oper in vielen Stidten funfzig, hundert campaign was the violinist Carl Miser, whose Vorstellungen erwirbt, sollte nicht ein beethovensches concert series for both chambermusic and larger Konzert zehn Auffiihrungen verdienen? Wenige von den acclaimed for the standard Konzertbesuchernwerden im Standesein, ein solches Werk works were setting auf das erste Mal ganz zu verstehen und wenige werden es for what we may now regard as the new, seri- zum zehnten Male h6ren, ohne neuen Genuf daran zu and German institution of haben in Berlin vor nicht Zeit mind- ous, emphatically finden. Wir langer ein art music. M6ser's on Berlin concert estens nahe verwandtes Beispiel gesehen. In Berlin, wo impact frfiher das Symphonienfach von den Konzertgebern life had in fact been considerable for some time. vernachlkifigt und dadurch der Sinn und die Bildung des He had soirees in the worden ist dennoch die begun regular quartet Publikums geschmilert war, winter season of 1813-14. In 1819 and Pastoralsymphonie von Beethoven in einem Winterhal- 1820, benjahre viermal aufgefiihrt worden. .... Der Schreiber Hoffmann had published two letters in the dieses hat mehre, Musiker und Kunstfreunde,gesprochen, die nach der ersten Auffassung den Sinn des Werkes ver- kennend, nichts davon hielten, ja manches Unverstandene ins Komische zu ziehen suchten, daraufnach der zweiten der Unterzeichnete eben auf dieses Werk solches 62"Da•, Aufffihrungsich zahlreichereinzelner Sch6nheitenbewutft Gewicht legt, welches still voriibergegangenist, wahrend und zuletzt von der Idee und Herrlichkeit des Ganzen in Lafont und Merkadante jeder Satz aus gerechtem hingerissen wurden. M6chte es nicht mit guten Kon- Interesse an den Ausiubendenapplaudirt wurde, k6nnte zertstiicken eben so gehen? Was kann einfacher sein, als manchen der Konzertbesucher wundern" (Marx, das unsterbliche Adagio in Beethovens G-dur-Konzerte? "Korrespondenz:Berlin, den 30. November 1825," BamZ Den Schreiberdieses hat es entziickt, als er es zum ersten 2 [1825],395). Male in Partitur las; und als er es noch dreimal geh6rt 63"Alleines ist zweitens auch gar nicht zu erwarten, dagf hatte, er nicht zu behaupten gewagt, es in seiner ein zahlreiches Publikum auf ein so tiefes Werke ohne hitte Freilich ganzen Tiefe aufgefatftzu haben" (Marx, "Einige Worte," Vorbereitung bei dem ersten Anh6ren eingehe. p. 358). wenn wir in Berlin erst so weit gekommen wiren, wie The slow movement of Beethoven's FourthPiano Con- man in Leipzig ist, wo alljahrlich saimmtliche Beetho- certo continued to preoccupy Marx. For his later "pro- vensche und vieler andernMeister Symphonien aufgefiihrt grammatic" interpretation of it, see Owen Jander, werden, dann wurde der Sinn des Publikums ffir solche in Hades': The Andante con moto Kunstwerke und sein" (Marx, "Beethoven's 'Orpheus empfinglicher geschirfter of the Fourth Piano Concerto," this journal 8 (1985), 195- "Korrespondenz:Berlin, den 30. November 1825," BamZ 212. 2 [1825],396).

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions Vossische Zeitung in praise of M6ser's con- tinued with "Meeresstille und gliickliche SANNA he enabled one "to for- PEDERSON certs, which, claimed, Fahrt," the Fourth Piano Concerto, and con- A. B. Marx get one's neighbor, oneself, and the whole cluded with the Ninth Symphony.69In short, and Berlin Concert Life world."64Mdser was also on good terms with M6ser's concerts aggressively took possession Spontini, having translated his French for the of the "classical" repertoire in Berlin at this orchestra players during rehearsals. In 1825 time.70During the 1820s, when nearly all of his M6ser was promoted from concertmaster to concerts featuredworks by Haydn, Mozart, and music director, which gave him the responsi- Beethoven, Marx consistently praised M6ser as bility of conducting operas as well as concerts.65 a concert giver who cared more about his audi- At the end of 1827, M6ser initiated a subscrip- ence than his own glory.71These subscription tion series of two cycles of six concerts, alter- concerts continued until 1842, when Wilhelm nating chamber music with symphonies.66In Taubert and the royal orchestra took them 1828 a report on the last concert that year men- over.72 tioned that their growing popularity was caus- Marx did not need to rely exclusively on ing M6ser to look for a larger hall for the next M6ser; he could also count on the Bliesener season.67During the summer months in Berlin, brothers, who had begun giving subscription regular concert life fell off, but the popular and concerts as early as 1807.73Ernst and Friedrich numerous military wind bands, which per- August Bliesener, both court musicians, had formed outdoors, began to present symphonies established "Ubungskonzerte"in 1800 at which by Mozart, Haydn, and Beethoven.68 After dilettantes could improve their skills; perfor- Beethoven's death, M6ser added annual con- mances by this orchestra school were only oc- certs commemorating Beethoven's birth and casionally open to the public. Some of these death days, which joined the Mozart birthday amateurs,however, participatedin the subscrip- concert and ball in January.For the Beethoven tion concerts, which did not evidently hold to birthday concert in 1829, for instance, his pro- high technical standards.74Despite their indif- gram opened with the Fourth Symphony, con- ferent performances,the Blieseners were praised in the BamZ for their very lack of cosmopoli- tan gloss; above all, their concerts were affirmed 64"Dag jeder seine Nachbarn, sich selbst, die ganze Welt for being appropriatelyGerman in their serious vergiBt" (Hoffmann, "An den Herrn Konzertmeister and attentive approachto music.75 M6ser," in Schriften zur Musik, p. 333. The letter origi- Although Marx consideredthe Bliesener con- nally appearedin the Vossische Zeitung, 6 November 1819). 65M6serwas portrayed positively throughout the BamZ. certs exemplary, they were, at least initially, The author of a book on Georg Abraham Schneider, a accustomed to treating the Beethoven sympho- colleague and rival of M6ser, however, cites two sources from the late nineteenth century to support his claim that M6ser, in his ambitious pursuit of titles and offices, over- reached himself and was utterly incompetent in his ca- 69"Nachrichten:Berlin, Anfangs Januar 1830," AmZ 32 pacities of opera conductor and orchestra school director. (1830), 46-47. See Andreas Meyer-Hanno, Georg Abraham Schneider 701n 1831 the Berlin correspondentfor the AmZ praised a (1770-1839) und seine Stellung im Musikleben Berlins M6ser quartet soiree, remarkingthat "these performances (Berlin, 1965), p. 149. of instrumental music are virtually the sole refuge of those 66"Konzertwesen," BamZ 4 (1827), 376; and "Nachrichten: who worship content-laden chamber music" (diese Instru- Berlin, Bericht vom Monat November und December," mentalmusik-Auffithrungensind fast noch das einzige Ref- AmZ 30 (1828), 43. ugium der Verehrer gehaltvoller Kammer-Musik) 67SeeMarx, "Letzte M6sersche Versammlung," BamZ 5 ("Nachrichten:Berlin," AmZ 33 [1831], 56). (1828), 146. 71"Korrespondenz:Berlin, den 28 April," BamZ 1 (1824), 68Christoph-HellmutMahling erroneously states that an 163. 1830 AmZ report is the "first mention of performancesby 72Mahling,"Music in the Air," p. 111. wind bands of Beethoven's symphonies" (Mahling, "Ber- 73Mahling,"Music in the Air," p. 116. lin: 'Music in the Air'," in The Early Romantic Era: Be- 74Meyer-Hanno,Georg Abraham Schneider,p. 74. tween Revolutions: 1789 and 1848, ed. Alexander Ringer 75Althoughthe Bliesener subscription concerts apparently [Englewood Cliffs, N.J., 1991], p. 133). A report in the continued throughoutthe 1820s, they were not mentioned AmZ in 1828 mentions six differentgarden concerts where in either the BamZ or the AmZ after 1826. A BamZ report arrangementsof Weber's Overture to Oberon, Haydn's E6 in 1827 referredto M6ser, Spontini, and Bliesener as the Symphony, and Beethoven's D-Major and Pastoral Sym- only concertgivers who invested their concertswith "value, phonies were being performedin wind-bandarrangements. dignity and utility to the public" (See "Korrespondenz: See "Nachrichten:Berlin," AmZ 30 (1828), 480. Berlin, im Mai," BamZ 4 [1827], 148).

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions 19TH nies in the earlier way, as an introduction or of the symphonic musical world-he could, at CENTURY MUSIC frame for the concert. In 1825, for instance, one most, help that world to be realized. In 1827 of the Bliesener subscription concerts began Marx claimed in the BamZ that Spontini had with a complete performance of Beethoven's told him: "It is fitting that every concert be Pastoral Symphony and continued with seven producedwith a complete symphony, especially more pieces: an aria with chorus by Rossini; since this most sublime type of instrumental Oboe Potpourri, played and composed by music belongs utterly and exclusively to the Hambuch; an aria by Mercadante;Double Con- Germans."Needless to say, Marx was delighted certo for Waldhorns by Lenz, played by the to relate this-an opinion "to be respected twice Schunke brothers;Trombone Potpourri,played as much, coming from a foreigner"-and added, and composed by Wieprecht; a duet from "May Herr Ritter Spontini work enthusiasti- Jessonda by Spohr;and an overture by Frdinzl.76 cally to that end, to further his true and noble But one must interpret such a list of events in declaration. He himself can lay claim to the context: because many other concerts at the respect and love of the Germans no more cer- time featured gimmicks, such as instrumental tainly than through the active promotion of effects (for example, a newly invented violin their artworks."79 that could imitate a glass harmonica), vocal tricks (holding a note for forty seconds), and LEIPZIGAS A MODEL OF SERIOUS CONCERT LIFE spectacles (a hundred-voice male chorus), the Bliesener concerts appearedmore serious than Marx's vision of an elevated German concert many, even though they relied heavily on Ital- life for Berlin owed much to the musical situa- ian opera and virtuoso instrumentalists.77 tion in Leipzig. The Leipzig Gewandhaus con- Besides M6ser and the Blieseners, there was certs were more "progressive" than anything another, more unlikely participantin "serious" in Berlin, mainly because of FriedrichRochlitz, concert life in Berlin in the 1820s: Spontini. who served as one of the directors of the Here Marx found himself again in a perplexing Gewandhaus orchestra besides editing the situation with the composer. Because Spontini Allgemeine musikalische Zeitung. Rochlitz was was responsible for many performances of responsible for the first performance of the Beethoven symphonies (as well as works by Eroica Symphony in Leipzig in January1807; a Bach and Handel), Marx praised his efforts and month later he printed an influential techAical treated him as a colleague, often singling him analysis of the piece in the AmZ.80 No doubt out in order to shame less patriotic German musicians, whom he accused of contemptible laziness in the artworks 79"Aufdie Gefahr, einer kleinen Indiskretion beschuldigt neglecting great they zu wenn wir had for the other werden, Privatmitheilungen benutzen, "possessed many years."78On erzihlen wir nach: daBiSpontini die edle Absicht des Herrn hand, Marx never failed to add that Spontini Birmann bestarkt und unterstiitzt, mir der im Munde des was aiding the cause as an outsider: because he Auslandersdoppelt ehrenwerthen Erklrung: es zieme sich, daf jedes Konzert mit einer vollstidndigen Symphonie was not German, he could never become part ausgestattet werde, zumal da diese erhabenste Gattung der Instrumentalmusikden Deutschen ganz ausschlieflich zugehore. M6chte Herr Ritter Spontini eifrig dazu thun, diesen seiner wahren und edlen Ausspruch allgemein 76"Korrespondenz:Berlin, den 29. Juli," BamZ 2 (1825), geltend zu machen. Er kann sich auf die Achtung und 259. Liebe der Deutschen keine sicherern Anspriiche erwerben, 77Instrumentaland vocal tricks were advertisedin the no- als durch thitliche BefOrderungihrer Kunstwerke"(Marx, tice for a concert by "HerrJoseph Fahrer nebst Gemahlin, "GrogfesKonzert von Barmann,"BamZ 4 [1827], 408). aus Wien," in BamZ 2 (1825), 348. A 100-voice chorus of soSeeErich Reimer, "Repertoirebildungund Kanonisierung: Scandinavianwarriors from Die eiserne Jungfrauby Kanne Zur Vorgeschichtedes Klassikbegriffs(1800-1835)," Archiv was featured in a concert given by Wilhelm Ehlers; see ffir Musikwissenschaft 43 (1986), 241-60, who emphasizes BamZ 2 (1825), 127. Rochlitz's influential role as both an editor and one of the di- 78"Wasmtitfte dann iiber manchen deutschen Musiker rectorsof the Gewandhausconcerts. Martin Geck also places ausgesprochen werden, der seit vielen Jahren im Besitz an enormous amount of importance on Rochlitz in the re- in aller grogfenKunstwerke, im Besitz der besten Mittel zur ception history of the Eroica and of "absolute music" Aufftihrung, nie daran gedacht hat, auch nur eine Probe general.See MartinGeck andPeter Schleuning, Geschrieben von ihnen dem Publikum zu gonnen" (Marx, "Letzte auf Bonaparte:Beethovens "Eroica":Revolution, Reaktion, 206-23. M6sersche Versammlung,"p. 146). Rezeption (Reinbekbei Hamburg,1989), pp.

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions Marx took his cue from Rochlitz's role in es- the factors were SANNA lin-Leipzigrivalry, determining PEDERSON tablishing Leipzig's reputation as a serious and not only aesthetic preferences: since Leipzig A. B. Marx educated for music. In 1827 one of the did not have Berlin's lavish royal opera the- and Berlin city Concert Life Leipzig correspondents for the BamZ, Amadeus aters, concert life in that city had less competi- Wendt, mentioned the pleasure that the city tion. When Wendt reported on how the was taking in Beethoven's symphonies, with Gewandhaus Orchestra concerts had won the which they "had become so familiar in the last public over to symphonies in Leipzig, he attrib- few years through their repeated performances uted the success to two factors: first, "most of in the Gewandhaus concerts."81The Gewand- our public is not so interested in the concert haus subscription series, which in the 1820s [event]as in the greatpure instrumental works"; consisted of twenty-four concerts, came close and second, traveling virtuosos had found that to performing regularly all of Beethoven's sym- it did not pay to visit Leipzig.86Because Berlin's phonies in numerical order.82At the beginning musical life was centered around the royal op- of the 1825-26 series, the AmZ reported:"Per- era, the BamZ had to dedicate all its energy to haps we will hear this winter the master's [Beet- achieve the focus on serious and high quality hoven's] symphonies in sequence, which we all music that Leipzig had enjoyed for years. Over certainly hope for. At the same time the direc- the course of the 1820s, both cities settled on tors must be particularly praised for alternately an average of about ten performances a year of bringing to the concertgoers the diverse works Beethoven's symphonies.87 of other masters, through which the one-sid- Perhaps because the Leipzig Gewandhaus edness in the players and listeners is at best subscription series put on twice as many con- eliminated or at least reduced."83 certs a season (twenty-four) as did M6ser At the beginning of the 1828-29 season, the (twelve)-and thereforehad more room on their AmZ again reported that it expected all of the programs-Leipzig displayed a concern, absent Beethoven symphonies to be on the program, in Berlin, about balancing their cultivation of "since for years Beethoven's works, and his the masterworks with new symphonies.88The symphonies above everything else, have become Gewandhaus regularly featured symphonies by a fixture of our concerts."84It was not until Feska, Spohr, Ries, Kalliwoda, and many oth- 1829-30, however, that Berlin could similarly ers. This more open policy extended not only boast of having heard all the Beethoven sym- phonies in one season.85In this emerging Ber- ber 1829 (AmZ 32 [1830], 46). Ninth Symphony: 19 De- cember 1829 (AmZ 32 [1830], 46-47). Third Symphony:30 8111Dergrotien Beethovenschen Symphonieschopfiingen, mit December 1829 (AmZ 32 [1830], 47). Sixth Symphony: 10 denen wir in den letzten Jahren durch die wiederholten February1830 (AmZ 32 [1830], 171). Seventh Symphony Aufffihrungenin dem Gewandhauskonzerteso vertrautge- (AmZ 32 [1830], 171). Fourth Symphony: 17 March 1830 worden sind" (A. W., "Korrespondenz:Ueber die Musik in (AmZ 32 [1830], 254-55). Fifth Symphony:24 March 1830 Leipzigim Winterhalbjahre1826-27," BamZ 4 [1827], 120). (AmZ 32 [1830], 255). Eighth Symphony: 31 March 1830 82SeeAlfred Dirffel, "Statistik der Concerte im Saale des (AmZ 32 [1830], 255). There were additional performances Gewandhauses zu Leipzig," in Geschichte der Gewand- duringthis period of the Fourth,Fifth, and Ninth Sympho- hausconcerte zu Leipzig (Leipzig, 1884; rpt. Leipzig, 1980), nies. pp. 4-5. 86"Da8fden gr6tftenTheil unsers Publikum nichts so sehr 83"Wahrscheinlichh6ren wir des Meisters Symphonieen in dem Konzert interessiert, als die grogfen reinen diesen Winter der Reihe nach, was Allen erwtinscht seyn Instrumentalwerke"(A. Wendt, "Ueber das Abonnement- miusste. Dabey muss es aber noch besonders gerifhmt Konzertin Leipzig,"BamZ 4 [1827],392). werden, dass sie die Direction, mit den Werken anderer 87Thenumber of performances of Beethoven symphonies Meister so mannigfaltig wechselnd, zu Geh6r bringt, in Leipzigfor the years 1824-30 were: ten in 1824; eight in wodurch die Einseitigkeit bey Spielern und H6rern am 1825, ten in 1826, nine in 1827, ten in 1828, ten in 1829, besten vermieden oder doch gemindert wird" ("Nach- twelve in 1830 (D6rffel, "Statistik," pp. 4-5). The number richten," AmZ 27 [1825], 856). of Beethoven symphonyperformances in Berlin (as reported 84"Denn seit Jahren sind Beethovens Werke, vor allen in the BamZ and the AmZ) were: five in 1824, six in 1825, anderen seine Symphonieen in unseren Concerten ... ein eleven in 1826, one in 1827 [sic], eleven in 1828, eleven in stehenderArtikel geworden"("Nachrichten: Leipzig," AmZ 1829, eleven in 1830. 30 [1828], 805). 88TheLeipzig concerts were reduced from twenty-four to 85Thefirst time all of Beethoven's symphonies performed twenty starting with the 1827-28 season. See Dirffel, in Berlin in one season: First Symphony: 25 November "Chronik der Concerte im Saale des Gewandhauses zu 1829 (AmZ 31 [1829], 839). Second Symphony: 2 Decem- Leipzig,"in Geschichte der Gewandhausconcerte,p. 74.

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions 19TH to other German composers but also, at least CONSOLIDATINGTHE SYMPHONIC CANON CENTURY MUSIC theoretically, to foreigners. Perhaps intention- ally distinguishing himself from Marx, Wendt If the Beethoven symphonies would need to be often added to his reports for the BamZ such frequently performed to familiarize the audi- comments as: "This loyal devotion [to German ence with them, other works would have to be music], however, neither induces us to treat neglected. Marx's clear choice was to overlook the merits of the French and Italians slight- the growing number of works being published ingly nor to wish to characterize and, as it and performed in favor of concentrating inten- were, dispose of them with general terms, such sively on a small number of pieces. Thus it as predominance of sensuality, frivolity, etc."89 comes as no surprise that, despite his call for a Leipzig undertook a performance of symphony on every concert, he did not encour- Beethoven's Ninth Symphony as soon as the age composers to write new symphonies, even parts were published in 1826. In a report on after Beethoven's death in 1827. In 1828 he this performance, the BamZ described the city stated unequivocally: as "the most outstanding site for concert mu- sic in northern Germany (perhaps, at present, In and of itself one can only appreciate and rejoice that the has in becom- in all of Europe)."90 After calling on Berliners public proved good gradually with all composers; the talent of our to follow Leipzig's example of serious con- ing acquainted exquisite Spohr, Lindpaintner, Ries and others has certgoing, the BamZ report went on to group well-founded claims on them. However, one can Berlin and as the Leipzig together making up easily go astray by naming as many names as pos- "North German character": sible-these are artists worthy of treasuring,but their acquaintance is still not as necessary to our public Fortunately, the North German character is so ad- as the further establishment of the works of all the mirable that the difference between the sugary, sen- great musical artists. Beethoven alone has contrib- sual titillation of Italian and French music and the uted nine symphonies; Haydn's creations of youth- spiritual pleasure of musical artworks is still gener- ful beauty and joy have been all too seldom ap- ally acknowledged and will remain. Whoever really proached;so little use has also been made of Mozart's wants to hear a Beethoven symphony in our area symphonies. No recent composer has come out with knows that he must receive a spiritual baptism of works that compensate for the exclusion of any of fire to his head and banish thoughts of amusement these.92 and sensual pleasure. Therefore, Beethoven's listen- ers will not lack the concentration needed for the Marx's reaction to music outside his canon entering into the spirit that lives in artworks.91 was deliberately to ignore it; his justification was that there was simply not enough time for including more music. In 1985 the literary theo- 89"Diesetreue Anhainglichkeitverleitet uns jedoch nicht, rist Friedrich Kittler described this strategy of Verdienste der italienischen und franzbsischenMusik die the early nineteenth-century German critic/edu- geringschitzig zu behandeln, oder sie mit allgemeinen Benennungen, wie Herrschaft der Sinnlichkeit, Frivolitdt u.s.w. karakterisiren und gleichsam abthun zu wollen" (Wendt, "Ueber die Musik in Leipzig,"p. 120). 92"Anund fiorsich kann man es nur mit Lob und Freude 90,1Leipzig,dem ausgezeichnetsten Orte Norddeutschlands anerkennen, da1fdas Publikum nach und nach mit allen (vielleicht in gegenwirtigen Augenblicke ganz Europa's) Komponisten, die sich bewiihrt haben, bekannt gemacht fir Konzertmusik" ("An die Berliner Kunstfreunde:Von werde; das Talent unsers trefflichen Spohr, Lindpaintner, einem aus ihrer Mitte," BamZ 3 [1826],384). Ries und andrerhat daraufgegrfindetsten Anspruch. Allein 9t"GlhicklicherWeise ist der norddeutsche Karakter so man kann dbei [sic] leicht auf den Abweg gerathen, ttichtig, da1f man sich des Unterschiedes zwischen dem m6glichst viel Namen aufzuftihren,-schitzenswerther konditoreimaifigen Sinnenkitzel italienischer und Kiinstler, deren Bekanntschaftaber dennoch unserm Pub- franz6sicher Musik von dem geistigen GenufBan Ton- likum nicht so nothwendig ist, als die nihere Einffihrung kunstwerken noch allgemein bewufBtist und bleiben wird. auf die Werkealler grofBenTondichter. Beethoven hat allein Wer also iiberhauptbei uns eine beethovensche Symphonie 9 Symphonien gespendet; Haydns Sch6pfungen voll h6ren will, weifB,daBf er geistige Feuertaufeauf sein Haupt Jungendsch6neund Jugendfreudesind unserm Publikum empfangen soll und dafBder Gedanke an Zerstreuungund noch so wenig genihert; auch Mozarts Symphonien noch SinnengenufB verbannt sein muB. Sammlung also zur so wenig benutzt. Kein neuerer Komponist hat Werke be- Aufnahme des Geistes, der im Kunstwerke lebt, wird den kannt werden lassen, die ffir die Ausschliessung jener ent- beethovenschen Zuh6rern nicht fehlen" ("An die Berliner schidigten" (Marx, "Bekanntmachung: M6sers Aka- Kunstfreunde,"p. 384). demien," BamZ 5 [1828],444).

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions cator-of on a small number of works contribute to the listener's education and taste SANNA focusing PEDERSON and ignoring the others-as a typical response for more difficult works did not belong on the A. B. Marx to the dramatic increase in This reasoning excluded foreign and and Berlin popular, "light" program. Concert Life entertainment.93In contrast to earlier practices "trivial" works, as well as pieces that theoreti- of intensive reading of the Bible, this prescrip- cally had nothing to offer the German people. tion for large amounts of time spent on a few Nor would the audience be the only ones to classics was new in that it was positioned spe- benefit from such an approach: the orchestra cifically against reading inexpensive, mass-pro- too could learn to play the most challenging duced novels, and listening to and playing mu- pieces by successively masteringthe easier ones. sic for amusement and enjoyment. Commenting on the Bliesener subscription se- Marx prescribed not only which pieces to ries, Marx suggested: put on a concert, but he was also concerned Fouror concerts in advance can make with the presentation-order of works, both eight arranged across the concert season and in individual con- good what perhapscould not be brought about in the first it can a certs. Thus he and concert; purposefully arrange progres- justified including Haydn's sion of and, throughthis Mozart's not their own compositions, gradually symphonies by only the strengthof the performinggroup as well as the merits but also their educational value in teach- public'sability to take in and receiveis raisedand ing audiences how to understand the more dif- assisted.Works that would not be completelysuc- ficult works of Beethoven. Taken together, these cessful on first hearing,or not completelyunder- three composers represented stages in the evo- stood,could be repeated,based on the justifiedhope lution of music's ability to embody specific of bettersuccess and fuller comprehension.96 ideas. As symphonies progressed from mere moods or psychological states to detailed dra- PERFORMERSAND PERFORMANCES mas, Marx theorized, they became more diffi- VERSUSTHE AUTONOMOUS WORK cult to comprehend without extensive famil- iarity with the genre.94When M6ser increased Although Marx recognized the importance of the number of his symphony concerts in 1827, an effective performanceand had practical sug- Marx advised: "Because the receptiveness for gestions for improving the orchestra, he in- higher works requires education through the sisted that a bad performance of a good piece understanding of more easily comprehended was preferable to a good performance of a bad ones, it is highly desirable that Herr Music one. When Beethoven's Fifth Symphony was concert in for Director M6ser make use of his more expanded performed on a Bliesener 1825, undertaking to educate the public first through example, Marx commented: the best Haydn and Mozart symphonies and The performance,especially of the C-MinorSym- through the easiest Beethoven symphonies to more profound works."9' Works that did not Marx had given the Bliesener concert series the same advice: "Sehrrathsam wire es, dafBdie Herm Konzertgeber 93FriedrichA. Kittler, Discourse Networks: 1800/1900, die Anzahl ihrer Konzerte benutzten, um an den soviel trans. Michael Metteer, with Chris Cullens (Stanford,1990), leichtern und dabei meisterhaftenSymphonien Haidns und pp. 143-45. See also Woodmansee, "Aesthetics and the Mozarts ihren Verein und die Zuhdrererst zu den gr6b8ten Policing of Reading,"in The Author, Art, and the Market, und schwersten Werken heraufzubilden"(M[arx], "Erstes pp. 87-102. Abonnements-Konzert im Jagorschen Saale," BamZ 2 94Fora discussion of Marx's "progressive"account of the [1825],404). symphony, see Scott Burnham, "Criticism, Faith and the 96"Beivier, oder acht vorausbestimmten Konzerten kann, Idee: A. B. Marx's Early Reception of Beethoven," this was in den ersten vielleicht nicht bewirkt werden konnte, journal 13 (1990), 183-92. nachgeholt werden;es kann eine Folge von Kompositionen 95"Sehrwiinschenswerth ist es aus diesem Grunde--denn zweckmai3ig geordnet und dadurch sowohl die Kraft des auch die Empfinglichkeit fiir h6here Werke fodert ausiibenden Vereins, als die Auffassungsfahigkeit und Heranbildungdurch die Auffassungfaflicherer-wenn Herr Empfinglichkeit des Publikums stufenweis gef6rdert und Musikdirektor M6ser seine raumlichere Unternehmung erhoht werden;Werke, die das Erstemalnicht ganz gelingen benutzt, das Publikum vorerstdurch die besten Haidnschen wollen, oder nicht ganz verstanden worden, k6nnen und Mozartschen und durch die einfachsten Beethoven- wiederholt werden in der gegriindeten Hoffnung bessern schen Symphonien zu tiefern Werken heranzubilden"(M., Gelingens und vollkommnern Auffassens"(M[arx], "Erstes "Dritte Mbsersche Versammlung,"BamZ 4 [1827], 422). Abonnements-Konzert,"p. 403).

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions 19TH phony, left much to be desiredin precision, nuancing composition does not enthrall the greatest part of CENTURY of forte and and so on. do not the rather this or that run or the MUSIC piano, Nevertheless, listeners, trill; twenty measures of this symphony, indifferentlyper- visual aspect [das Auge]-or more precisely, the formed, give greater enjoyment and nourishment singer's aigrette and cloak trimmings. ... In the than a concert in which a polished performanceis performanceof a symphony nothing external takes squandered on a shoddy work and nothing pleases part, not even an alluring personality or a conspicu- except the individual offering of a singer, whom one ous virtuosity. Whoever does not follow the course enjoys better and more sufficiently in any opera?97 of the composition has nothing at all. And so sym- phonies teach music without distraction and require Performers were never to overshadow the one to listen [to music] for its own sake.'00 work. This position, of course, was inimical to the era's fascination with virtuoso performers, For Marx, symphonies, unlike other kinds of and Marx frequently found himself protesting music, were composed of inner qualities that against enormously popular singers and instru- could not be seen, only heard. The symphony mentalists.98 Merely by looking at a concert was to be a world apart from "spectacular" program, he commented, one could surmise music, or music for spectators, with its per- what kind of an artist the soloist was. Although formers who pleased through flashy costumes almost all performers failed to realize it, a single and conspicuous mannerisms. Performers were Mozart or Beethoven concerto could display to subordinate themselves to the work itself, their artistry better than a hundred more diffi- he insisted; they should attribute their success cult virtuoso concertos. Marx further criticized to the genius of the composer rather than to performers who wrote their own works as ve- their own artistry, in order to escape the nega- hicles for their own particular talents.99 In an tive charges of merely pleasing the audience 1824 review of a concert that featured and detracting from the music. For their part, Beethoven's Second Symphony, Marx con- audiences must learn to pay attention, perhaps trasted the extramusical "distractions" of genres by closing their eyes to appearances that could that relied on individual performers to the self- lead them astray. sufficiency of his favored genre: On those occasions when Marx did acknowl- edge the existence of undeniably important per- Not merely the actions of the principals, but also formers, he normally attributed their greatness and the the extras, the dancers, the decorations, to their association with only the finest of the atten- finery singers, capture [the audience's] works.'0' This issue emerged when Marx tion and interest, while they imagine themselves to be occupied with the music. The content of the

'l?"Nicht blos die Handlung der Hauptpersonen,auch die 97"DieAusfiihrung, besonders der C-moll-Symphonie,lieBf Statisten, die Tanzer, die Dekorationen, der Putz der an Pricision, Niiancirung von Forte und Piano u. s. w. Singerinnen, nehmen ihre Aufmerksamkeit und ihr manches zu wiinschen iibrig; dennoch-geben nicht Interesse gefangen, wiihrend sie sich einbilden, mit der zwanzig Takte jener Symphonie, mittelmfiBig ausgefiihrt, Musik beschiiftigst zu sein. Nicht der Inhalt der mehr GenuBfund Nahrung, als ein Konzert, in dem eine Komposition, sondern dieser, jener Lauferoder Triller, das treffliche Ausfiihrung an armselige Werke verschwendet Auge-oder auch die Reiherfeder und der Kleiderbesatz wird und nichts erfreulich ist, als etwa die pers6nlichen der Singerin im Konzerte, fesseln den gr6fiten Theil der Gaben einer Singerin, die man in jeder Oper besser und H6rer. . .. Bei der Auffiuhrung einer Symphonie wirkt reichlicher geniefBt?" (M[arx], "Erstes Abonnements- nichts AeufBerliches, nicht einmal eine anlockende Konzert," p. 404). Pers6nlichkeitoder vorstechende Virtuositit mit. Wernicht 98Amajor hindrance to Marx's campaignwas the phenom- der Komposition in ihrem Gange folgt, hat gar nichts, und enal success of Henriette Sontag in her Berlin debut in so lehren Symphonien, Musik ohne Zerstreuung und um August 1825 as Isabella in Rossini's L'italiana in Algeri. ihrer selbst willen haren" (M[arx],"Korrespondenz: Berlin Sontag had begun her career singing the title role in the den 13. December 1824," BamZ 1 [1824], 444). premiere of Weber'sEuryanthe and had also been a soloist '01"Garricksoll verstanden haben, das ABC so riihrend in the premiere of Beethoven's Ninth Symphony. Con- herzusagen, dafBman sich der Thrinen nicht erwehren founded by her defection to Italian opera, the BamZ ap- k6nnen; es war aber nicht dieses Kinderspiel,sondern sein pealed to her to return to German composers and by so Eindringenin Shakespeare,das ihn unsterblich gemacht. doing honor her art and her country. See "Kinigstadtisches Nicht die Triller und Lauferder Mara, sondern ihn tiefer Theater," BamZ 2 (1825), 280-84; and "Konzert im VortragHandels hat ihr vor allen Singerinnen den gr6fdten K6nigstidter Theater," BamZ 2 (1825), 296-98. Ruhm erworben" (Marx, "Mdsers und Rombergs 99Marx,"Einige Worte," p. 351. Quartette,"BamZ 5 [1828], 23-24).

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions launched an attack against the quartet series of TOWARD THE INSTITUTIONAL SANNA the well-known cellist and Bernhard EMERGENCEOF ART PEDERSON composer AUTONOMOUS MUSIC A. B. Marx Romberg. Although Romberg's quartet could and Berlin only be praised for its polished performances, When in the 1820s Marx asked his readers to Concert Life Marx felt obliged to protest, because in his listen to music "on its own account" or "as view the works performed (for the most part by music," he was calling not so much for an Romberg himself) were not of the highest qual- increased technical competence as for the cul- ity. Loss of the BamZ's support was the "nec- tivation of a certain kind of attitude toward essary and well-deserved consequence of the musical comprehension. As Christa Bilrger has artist's perfidy in failing to leave open a single recently shown in the field of literature, many little place in a cycle of six concerts for our of those who encountered the new autonomous masters Haydn, Mozart and Beethoven."o102 art in the early nineteenth century did not re- Marx's views on the performer's relation to spond by dedicating large amounts of time to the work departed significantly from earlier con- analyzing and studying these works-this task cepts of music; they even diverged from those was taken on by a small, elite circle of intellec- of his immediate predecessor, E. T. A. Hoff- tuals/artists. Instead, they acknowledged high mann. In an 1815 report on musical events in art's importance and superiority by taking on Berlin for the AmZ, for instance, Hoffmann social responsibilities for promoting and pre- had also singled out Romberg, but had praised serving it. him for the very qualities that Marx would later condemn. Instead of being distressed by With the exception of a small group with literary the visual distractions of Romberg's perfor- interests, the bourgeoisreader turned to literaryprod- mance, Hoffmann claimed the opposite: ucts that we would today classify as entertainment literature. Yet nevertheless, in that the middle class I wanted to see and hear [Romberg]where he himself saw its legitimation in the course of the nineteenth was the focus of the whole concert. I say deliber- century in the consciousness of being bearersof cul- ately: see and hear. The general desire to not only tural progress and at the same time keepers of na- hear a concert but also to see, the rush for seats in tional tradition, the reception of canonized authors of classicism the hall where this is possible, does certainly not was a necessary component of the ide- originate out of mere idle love for display: one hears ology of Bildung.104 better when one sees: the hidden affinity of light and tone clearly reveals itself: both, light and tone, em- Biirger's analysis sheds light on the paradoxical body themselves in individual form, and so the solo- musical situation in which the majority re- ist, the singer, become themselves the sounding vered art music for its symbolic significance, melody! 103 not for its aesthetic superiority. In his 1983 study of the symphonic concert, Hanns-Werner Heister pointed out that musical scores were too expensive and too scarce for the vast major- ity of the public.105He speculates that very few 102"Die nothwendige und wohlverdiente Folge der could read an orchestral score as almost all kfinstlerischen Perfidie, in einem Cyklus von sechs Versammlungen auch nicht ein Platzchen fuir unsere orchestral pieces were published in piano re- Meister Haidn, Mozart and Beethoven offen zu lassen" duction or in parts; study and pocket scores (Marx, "M6sers und RombergsQuartette," p. 23). were not widely available in Germany until the 'l3"Doch mochte ich ihn nur in dem seinigen, wo der Brennpunkt des Ganzen er selbst war, sehen und h6ren. Ich sage mit Bedacht: sehen und h6ren. Die allgemeine Begierde, im Konzert nicht allein zu h6ren, sondern auch zu sehen, das Drangen nach Plitzen im Saal, wo dies '04ChristaBuirger, "Literarischer Markt und Offentlichkeit m6glich ist, entsteht gewifB nicht aus blotter, miiiiger am Ausgang des 18. Jahrhundertsin Deutschland," in Auf- Schaulust: man hort besser, wenn man sieht; die geheime kliarungund literarische Offentlichkeit, p. 171. For a psy- Verwandtschaftvon Licht und Ton offenbartsich deutlich; choanalytic explorationof the appreciationof autonomous beides, Licht und Ton, gestaltet sich in individuellerForm, art in modern bourgeois society, see Jochen Schulte-Sasse, und so wird der Solospieler, die Sangerin, selbst die "The Prestige of the Artist under Conditions of Moder- ert6nende Melodie!" (Hoffmann, "Briefeuiber Tonkunst in nity," Cultural Critique 12 (Spring1989), 83-100. Berlin,"p. 281). 'OsHeister,Das Konzert,II, 422.

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions 19TH end of the nineteenth century.1'6 Nevertheless, THE END OF AN ERA CENTURY MUSIC Heister observes, it was assumed that concert- goers "knew" the established repertoire.'07 If in After five years of campaigning, Marx could truth the work remained something of a mys- announce with satisfaction that tery to its audience, this did not hinder its being understood as central to the German tra- the unceasing reproachesof [this] journalhave called dition. More likely, it guaranteed it. the concert giver and the public of Berlin out from Once a significant part of German society the poverty and shallowness of earlier concert life to the more noble and have them to accepted the notion of the symphony as an path, encouraged of the German make the great instrumental works in particular at object-a prize possession home so that now one can and followed that its among us; hardlygive people-it contemplation see attended a concert without a would lead to [hearing] symphony, self-knowledge, self-improve- whereas earlier there were hardly any with a sym- and self-satisfaction. After a concert ment, given phony.109 by Mdser, Marx described the complacency of those who had attended: Marx's attitude toward the symphony-which extended to many other influential Berlin mu- [There was] everywhere the gratified consciousness sic brokers-was innovative in bringing about of oneself in a in finding respectable place, unified change, but obstinate in opposing the existence an intellectual and artistically educated public-- of other such as music for entertain- which in no can be asserted for the usual con- traditions, way ment. But Berlin's musical life did not certs..... Those who enable and ennoble themselves acquire its conservative from its self- and their people for music, who want to cleanse and tendency only cure music from the detrimental influence of shal- conscious cultivation of a narrow repertory. low and depravedfashionable music, will not fail to The situation in Leipzig demonstrated that it fall in with Maser's undertaking.108 was possible both to foster a canonic repertory and to preserve its reputation as a progressive Thus, the symphony itself could serve as an and lively city for music. Berlin, however, stag- aesthetic object, and the concert as a public nated under the combination of canon forma- occasion for a certain kind of behavior. Within tion with limited concert opportunities for other the duration of the concert-as one concen- works and an oppressive opera situation domi- trated on following the music, but also as one nated by Spontini's productions of his own surveyed the concert hall and the surrounding works. The Berlin correspondent to the AmZ audience-attention could focus on how com- frequently complained about the lack of any- ing together and concentrating inwardly on thing new at the opera."1 In 1829 the corre- good, true, German music brought them one step further toward realizing an inward, good, and true German nation-one articulated, if 'o09Die unablai3igen Mahnungen der Zeitung die not politically, at least culturally. Konzertgeberund das Publikumvon Berlinvon der Armuth und Seichtigkeitdes fraihernKonzaertswesens auf die edlere Bahn zuriickgerufen, zu ihr ermuthigt, namentlich die grofften Instrumentalswerke unter uns einheimisch '06Heister,Das Konzert, II, 423. Hans Lenneberghas docu- gemacht haben; so da1fman jetzt kaum ein Konzert ohne mented that miniature scores circulated in London and Symphonie gegeben und besucht sieht, wie fruher kaum Paris at the beginning of the nineteenth century. See his eines mit einer Symphonie" (Marx, "Standpunkt der "Revising the History of the Miniature Score," Notes 45 Zeitung," BamZ 5 [1828], 494). The AmZ corroborated (1988), 258-61. this in 1830: "Die Instrumental-Musik hat durch den '07Heister,Das Konzert,II, 424. allgemeiner erh6heten Sinn for Symphonieen gewonnen, 108"Oberalldas zufriedne BewufBtsein,sich an einem fiir dagegen scheint das Interesse fiir das einfachere Quartett ein geistreich und kiinstlerisch gebildetes Publikum etwas abzunehmen. Beethovens Symphonieen und iinstandigen Orte zu befinden-was sich von den Quartette finden weit mehr Eingang, als frtiher" gew6hnlichen Konzertenkeineswegs behaupten lie.e .... ("Nachrichten: Berlin, Anfangs Januar 1830," AmZ 32 Wer daher sich und die seinen ffir Musik befahigen und [1830],45). veredln, von dem nachtheiligen EinflutBder seichten und "0oSee,for example, a report that complains of the verderbtenModemusik reinigen und heilen will, versaume K6nigliche Theater staying with old operas and only stag- nicht, sich dem M6serschen Unternehmen anzuschliefBen" ing three new works in 1828: "Nachrichten:Berlin," AmZ (M., "Dritte Mdsersche Versammlung,"p. 422). 31 (1829), 27.

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This content downloaded from 129.15.14.53 on Fri, 7 Jun 2013 02:22:47 AM All use subject to JSTOR Terms and Conditions who had praised concertgoing became routine, the features of SANNA spondent, generally M6ser's PEDERSON undertakings, even ventured to criticize M6ser the great works grew so familiar as to be taken A. B. Marx for not with the times and playing for granted. Heister has characterizedthe prob- and Berlin keeping up Concert Life new quartets."11 lem of maintaining a stable concert repertory Times had changed. When Marx took leave while broadening the audience's horizons as a of his journal in 1830, the institution of the dialectic between innovation and stagnation."3 symphony concert had been secured to support This dialectic would continue to preoccupy the commemoration of an established reper- music critics up to the present. Fitful bursts of tory of pieces embodying Germannational iden- anxiety about the future of the symphony or- tity. Around this time, with the deaths of Hegel chestra have appearedover the last 150 years- (1831) and Goethe (1832), the sense of the "end they are still very much with us-with the situ- of an age" became prominent, especially in the ation always represented as a sudden acute cri- blossoming genre of literary history. Once this sis, a cultural emergency. Characteristically, sense was announced and generally shared, the these conservative critics have perennially period could be evaluated and summarized, and claimed that the sheer greatness of masterpieces the great works ranked and classified. Situating has in the past been sufficient to sustain the sig- the great works and achievements of Germany nificance and value of the symphony concert, within a golden age that had passed away did and that classical concerts should be able to much to anchor their preeminent position. The continue to draw audiences without making high regard enjoyed by the "classical age" of concessions to what current audiences want. In German music, however, lent an inevitable short, in this often-heardview, the crisis of clas- epigonous status to symphonies composed in sical music is an inevitable result of the general the following years. The price paid for estab- decline of standardsor even of civilization. By lishing the symphonies of the "Classical" era recognizingthe historically variable,interdepen- as an object and occasion for German cultural dent relation between institution and artwork, identity was to preclude the possibility of higher however, we can begin to addresscontemporary achievements in the future.112 Meanwhile, as predicaments without being transfixed by a mythical golden age, when music was .M appreciated "for its own sake." ""Nachrichten: Berlin, den 1sten Mirz 1829," AmZ 31 (1829),212. "21have explored the historiographicalproblem of sym- phonic composers after Beethoven in "On the Task of the Music Historian: The Myth of the Symphony after Beethoven," repercussions 2 (Fall 1993), 5-30. "3Heister,Das Konzert,I, 269.

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