By Ruth A. Solie
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Extra info for Music in other words : Victorian conversations
Strauss, “Beethoven’s Neunte,” col. 130. 86. Strauss’s “incompetence” was one of the last subjects on which Wagner and Nietzsche continued to agree, although their accord was not based on common arguments. Anthony M. Ludovici, in Complete Works, vol. 4). ”87 This viewpoint, or at least its echo by scores of later commentators, may actually be a byproduct of the great Zukunftsmusik controversy because the futurist debate was whether it was the presence of words or the introduction of human voices as such that constituted Beethoven’s revolutionary move; the conservative argument, on the contrary, had merely to do with whether the piece could properly be called a symphony.
August Wilhelm Ambros, “The Ethical and Religious Force in Beethoven,” trans. KGW, Dwight’s Journal of Music 30 (1871): 417; Oulibicheff, Beethoven (my translation); Vimenal, “La Neuvième symphonie,” 21. 56. Kroeger, “Marx’s Characterization,” 395. The Ninth in 19th-Century Criticism / 27 sically literate—is their reliance upon ﬁctions of divine intervention to explain the genesis of the symphony. 58 A third tale symbolizes Beethoven’s compositional genius with an apparently withered rosebush that miraculously ﬂowers when the composer’s hand touches it, thus reassuring him that his great gift still lives.
But more is wanted. ”50 What is particularly interesting about Schmitt’s discussion of the piece, which extended over several issues of Dwight’s Journal, is that these programmatic and hortatory assertions appear freely interwoven among purely technical sentences whose purpose is the dissection of theme from motive, phrase from section; to Schmitt, as apparently to his audience, there was no distinction between the two modes of approach that would accord superior explanatory status or validity to one over the other.