THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies................................................................................ 76 Lateness: Transcendence and Decay........................................................... 85 Voice and Gaze in Beethoven’s Late Adagios........................................... 99 CHAPTER 2: Beethoven’s Nativity: Performing Devotions at the Birth-House Museum in Bonn Introduction.................................................................................................... 110 Ehrenpflicht: The Duty to Preserve............................................................... 117 Beethoven’s Nativity..................................................................................... 142 Performing Devotions................................................................................... 156 CHAPTER 3: “Ganz Wien ist ein Beethovenhaus!”: Mourning the Death-House in Vienna, 1903 Introduction.................................................................................................... 177 The Abschiedsfeier: Farewell to a Dead House............................................ 181 Protest and Acceptance................................................................................. 201 Alois Riegl and the Life of Monuments...................................................... 212 Living History................................................................................................ 221 Tourists and Pilgrims.................................................................................... 228 Petrifying Vienna........................................................................................... 237 iii “Ganz Wien ist ein Beethovenhaus!”.......................................................... 241 CHAPTER 4: Mozart on the Mountaintop: Secular Ritual at the Magic Flute Cottage in Salzburg Introduction.................................................................................................. 245 Making the Mozart-Stadt............................................................................. 254 From Shack to Shrine................................................................................... 267 Secular Ritual: Masons and Men’s Choirs................................................ 291 Mozart in the Woods................................................................................... 308 Utopian Salzburg......................................................................................... 319 EPILOGUE................................................................................................................ 326 APPENDICES Appendix 1...................................................................................................... 333 Appendix 2.1................................................................................................... 335 Appendix 2.2................................................................................................... 344 Appendix 3...................................................................................................... 351 Appendix 4.1................................................................................................... 354 Appendix 4.2................................................................................................... 360 Appendix 4.3................................................................................................... 362 Appendix 4.4................................................................................................... 364 BIBLIOGRAPHY........................................................................................................ 389 iv LIST OF MUSICAL EXAMPLES 1.1 Ludwig van Beethoven, String Quartet, Op. 127, II, mm. 37-40 100 1.2 Ludwig van Beethoven, “Muss es sein?” key, String Quartet, 101 Op. 127, IV 3.1 Ludwig van Beethoven, “Adelaide,” Op. 46, mm. 66-78 243 Appendix 1 Ludwig Nohl, arr., “Beethovens Grabgesang,” from Ludwig van Beethoven, String Quartet, Op. 127, II 334 Appendix 4.3 Wolfgang Amadeus Mozart, “O Isis und Osiris, 362 welche Wonne!” Chorus, Die Zauberflöte, Act III Appendix 4.4 Max von Weinzierl, “Des Künstlers Genius,” Fest-Chor 365 Herzogliche Schlossbibliothek, Coburg, Ms Mus 944. v LIST OF FIGURES 0.1 Landscape made from Beethoven’s hair, Vienna, 1827 1 Beethoven-Haus, Bonn, R4 0.2 Stills from BBC Documentary on Beethoven 7 from the Great Composers series (1999) 0.3 Beethoven-Haus guestbook entry, September 19, 1891 20 1.1 Comparison of Beethoven’s life mask and death mask 52 1.2 Advertisement from the Gebrüder Micheli, ca. 1900 55 1.3 Lionello Balestrieri, “Kreutzer Sonata” (1889) 56 Museo Revoltella, Trieste, Inv. 139 1.4 Wilhelm Menzler, “Beethoven” or “Polyhymnia,” 1919 63 Beethoven-Haus, Bonn, B 1251. 1.5 Walther Rath, Beethoven Stillleben, ca. 1910 64 Beethoven-Haus, Bonn, B 552. 1.6 Comparison: 1) Franz Stuck, “Beethovenmaske mit 70 Lorbeerkranz” (1896), Beethoven-Haus Bonn, B 1389 and 2) Shroud of Turin. 1.7 C.W. Bergmüller, “Beethoven-Sonate,” oil painting (n.d.) 71 Illustrirte Zeitung (March 24, 1927), 407 1.8 Georg Wimmer (1892-1975), “Beethovenkopf über 71 nächtlichem Gewässer,” Beethoven-Haus, Bonn, B 2439 1.9 Franz Stassen, “Joachim und Beethoven,” ca. 1900 72 Karl Storck, Musik und Musiker in Karikatur und Satire (1910), 69 1.10 Reinhold Max Eichler, “Des Herrn Kapellmeister’s Auffassung,” 81 Jugend 4:1 (1899), 4 2.1 (Reprise of Fig. 1.9) Franz Stassen, “Joachim und Beethoven” 135 vi 2.2 Photograph, Beethoven-Haus Interior 145 Verein Beethoven-Haus in Bonn: Bericht über die ersten fünfzehn Jahre seines Bestehens, 1889-1904 (Bonn: Verlag des Beethoven Vereins, 1904) 2.3 Photograph, Beethoven’s Birth-Room, Bericht (1904) 147 2.4 Two postcards, Beethoven’s Birth-Room. 147 Beethoven-Haus, Bonn, B 653b and B 2514. 2.5 Friedrich Geselschap, “Beethovens Geburt,” Dresden (1895-8). 150 Beethoven-Haus, Bonn, B 109/a. 2.6 Johann Peter Lyser, “Denkblatt zur Beethovenfestes zur Bonn, 1845” 151 Beethoven-Haus, Bonn, B 534. 2.7 Beethoven-Haus guestbook entry, August 24, 1898 166 2.8 Beethoven-Haus guestbook entries, August 6, 1908 166 2.9 Beethoven-Haus guestbook entry, August 12, 1910 167 2.10 Beethoven-Haus guestbook entry, January 1, 1928 168 2.11 Beethoven-Haus guestbook entry, December 10, 1900 169 2.12 Beethoven-Haus guestbook entry, September 21, 1920 169 2.13 Egger-Lienz, Postcard, “IX Symphonie,” 172 Vienna, Brüder Kohn, ca. 1900 3.1 Front page of Illustrirtes Wiener Extrablatt, November 17, 1903 188 3.2 Postcard, 1927. 210 Frankfurt am Main, Stadt- und Universitätsbibliothek, S 36/F08177. 4.1 Photograph, Zauberflötenhäuschen exterior 247 in Hans Schurich, Kleine Chronik des Zauberflöten-Häuschen (Salzburg: Internationale Stiftung Mozarteum, 1950), 19 4.2 Photograph, Zauberflötenhäuschen interior, 1932 271 Austrian National Library, Bildarchiv, L 32072b-C; L 36072b-C 4.3 Wooden souvenir, ca. 1900 275 vii 4.4 Comparison of illustrations of the Zauberflötenhäuschen 276 Die Gartenlaube 3 (1874) Illustrierte Zeitung, August 19, 1877 4.5 Photograph of Zauberflötenhäuschen re-opening ceremony 292 Das Interessante Blatt (June 25, 1925), 5 4.6 Anton Romako, “Mozart am Spinett,” 1877 315 Stiftung Mozarteum Salzburg 4.7 Postcard, Goethe’s cottage near Ilmenau 318 Verlag von Karl Thomass, Gehren i. Thur 5.1 Beethoven-Haus guestbook entries, 2014 328 viii LIST OF TABLES 4.1 Mozart-Cottage Ovation: Program (July 18, 1877) 293 Throughout this dissertation, translations are my own unless otherwise indicated. All images under copyright are reproduced with explicit permission from the libraries, archives, and museums cited. ix ACKNOWLEDGEMENTS It seems like common practice to dismiss one’s dissertation as juvenilia, a snapshot of our earlier selves that we’ve already outgrown by the time we defend. Many of us are daydreaming of the book well before crossing the finish line (or even crossing all the ts). But while this process involves its share of hand- wringing or motivation mantras, I had the great fortune to undertake my dissertation among a brilliant community. My mentors,