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2 Hoffmann, E. T. A. Hoffmann's Musical Writings, 357; Hoffmann, Schriften zur Musik, Nachlese, 214.

3 The review was originally published in Allgemeine musikalische Zeitung 12 (1810), 630–642, 652–659.

4 Berger, Karol, Bach's Cycle, Mozart's Arrow: An Essay on the Origins of Musical Modernity (Berkeley: University of California Press, 2007), 4–5.CrossRefGoogle Scholar

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7 For significant accounts see Berger, Karol, A Theory of Art (Oxford: Oxford University Press, 2000)Google Scholar and Chua, Daniel, Absolute Music and the Construction of Meaning (Cambridge: Cambridge University Press, 1999).CrossRefGoogle Scholar

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9 Habermas, Jürgen, The Philosophical Discourse of Modernity, trans. Lawrence, Frederick (Cambridge: Polity, 1987), 16–19.Google Scholar

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14 Schiller, ‘Letters on the Aesthetic Education of Man’, 89. Original italics.

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16 Claiming modern art's obsolescence is a tradition almost as old as Continental philosophy itself. See Geulen, Eva, The End of Art: Readings in a Rumor after Hegel, trans. McFarland, James (Stanford: Stanford University Press, 2006)Google Scholar. For the remainder of the article I use the terms ‘Classical’ and ‘Romantic’ in their Hegelian formulation.

17 Rose, Gillian, Hegel Contra Sociology (London: Verso, 2009), 135 Google Scholar. For an account of Hegel's historical theory of aesthetics see Pinkard, Terry, ‘Symbolic, Classical, and Romantic Art’, in Hegel and the Arts, ed. Houlgate, Stephen (Evanston, IL: Northwestern University Press, 2007), 3–28 Google Scholar. My discussion is also indebted to chapter 1 of Pippin, Robert B., After the Beautiful: Hegel and the Philosophy of Pictorial Modernism (Chicago: University of Chicago Press, 2014).Google Scholar

18 Hegel, G. W. F., Aesthetics: Lectures on Fine Art, trans. Knox, T. M., two volumes, volume 1 (Oxford: Oxford University Press, 1975), 437 Google Scholar. observes, Pinkard, ‘The elegiac nostalgia for Greek life – beautiful, lost and irrecoverable – was a weighty feature of the intellectual atmosphere of Hegel's time.’ Pinkard, Terry, Hegel's Phenomenology: The Sociality of Reason (Cambridge: Cambridge University Press, 1994), 134.Google Scholar

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20 As Pinkard states, ‘The inadequacy of art to capture this self-understanding for us is, paradoxically, not the metaphysical inadequacy of art itself to get at a deeper truth, but a change in the status of “we moderns” who find it inadequate to ourselves as we have come to be’. Pinkard, ‘Symbolic, Classical, and Romantic Art’, 21.

21 Hegel, Aesthetics, volume 1, 80.

22 Hegel, Aesthetics, volume 1, 11. Original italics.

23 Winckelmann, Johann Joachim, History of the Art of Antiquity, ed. Potts, Alex, trans. Mallgrave, Harry (Los Angeles: Getty Research Institute, 2006), 351.Google Scholar

24 Friedrich Schiller, ‘On Naive and Sentimental Poetry’, trans. Daniel O. Dahlstrom, in Essays, ed. Hinderer and Dahlstrom, 204.

25 Hegel, Aesthetics, volume 1, 605. For a trenchant analysis of Hegel's claim see Pippin, After the Beautiful, 42–43.

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29 Schiller, ‘Kallias or Concerning Beauty’, 169.

30 Schiller, ‘Kallias or Concerning Beauty’, 171–172. Original italics.

31 Friedrich Schlegel, ‘Athenaeum Fragments’, trans. Peter Firchow, in Classic and Romantic German Aesthetics, ed. Bernstein, 249.

32 Friedrich Schlegel, ‘Letter About the Novel’, trans. Ernst Behler and Roman Struc, in Classic and Romantic German Aesthetics, ed. Bernstein, 293. See also Behler, Ernst, German Romantic Literary Theory (Cambridge: Cambridge University Press, 1993), 177.CrossRefGoogle Scholar

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34 Schlegel, ‘On Goethe's Meister’, 276–277.

35 Others have observed themes of modern aesthetic alienation in Hoffmann's literary works. See Schönherr, Ulrich, ‘Social Differentiation and Romantic Art: E. T. A. Hoffmann's “The Sanctus” and the Problem of Aesthetic Positioning in Modernity’, New German Critique 66 (1995), 3–17.CrossRefGoogle Scholar

36 Hoffmann, E. T. A. Hoffmann's Musical Writings, 353; Hoffmann, Schriften zur Musik, Nachlese, 209–210.

37 Hoffmann's conception of modern opera merits further study. His own compositional focus on operatic works and his laudatory review of Spontini's Olimpia suggest a deeper claim to the legitimacy of opera as a romantic art form. See Hoffmann, E. T. A. Hoffmann's Musical Writings, 431–446. For context on Hoffmann's operas see chapter 5 of Chantler, Abigail, E. T. A. Hoffmann's Musical Aesthetics (Aldershot: Ashgate, 2006).Google Scholar

38 Hoffmann was treading a well-worn path when he claimed that modern church music was inadequate. For instance, in 1801 Triest stated, ‘In a word, sacred music is no longer a thing that exists in its own right’. Friedrich Triest, Johann Karl, ‘Remarks on the Development of the Art of Music in Germany in the Eighteenth Century’, in Haydn and His World, ed. Sisman, Elaine, trans. Gillespie, Susan (Princeton: Princeton University Press, 1997), 359 Google Scholar. Decades earlier Johann Friedrich Reichardt and Johann Adam Hiller had also offered critiques of modern church music. See Ottenberg, Hans-Günter, Carl Philipp Emanuel Bach, trans. Whitmore, Philip J. (Oxford: Oxford University Press, 1987), 110–111.Google Scholar

39 Hoffmann, Schriften zur Musik, Nachlese, 210; Hoffmann, E. T. A. Hoffmann's Musical Writings, 353–354.

40 Hoffmann, E. T. A. Hoffmann's Musical Writings, 370; Hoffmann, Schriften zur Musik, Nachlese, 227. For more on Hoffmann's religious views see Chapin, Keith, ‘Lost in Quotation: The Nuances behind E. T. A. Hoffmann's Programmatic Statements’, 19th-Century Music 30/1 (2006), 49–52.CrossRefGoogle Scholar

41 Hoffmann invokes France as exemplifying this decay, which, as Stephen Rumph points out, resonates with political events of the time. Rumph, Stephen, ‘A Kingdom Not of This World: The Political Context of E. T. A. Hoffmann's Beethoven Criticism’, 19th-Century Music 19/1 (1995), 55–58.CrossRefGoogle Scholar

42 A paradigmatic idealization of medieval Europe may be found in Novalis, ‘Christendom or Europe’, in Novalis: Philosophical Writings, trans. Margaret Mahony Stoljar (Albany: State University of New York Press, 1997), 137–152.

43 Hoffmann, Schriften zur Musik, Nachlese, 213; Hoffmann, E. T. A. Hoffmann's Musical Writings, 356. Tieck rhapsodized about Palestrina's age in Ludwig Tieck, Phantasus: eine Sammlung von Mährchen, Erzählungen, Schauspielen und Novellen, three volumes, volume 1 (Berlin: Realschulbuchhandlung, 1812), 466–468.

44 Hoffmann, Schriften zur Musik, Nachlese, 215.

45 Tieck, Phantasus, volume 1, 471.

46 Hoffmann, E. T. A. Hoffmann's Musical Writings, 358–360; Hoffmann, Schriften zur Musik, Nachlese, 216–218. Hoffmann's conception of Palestrina's style elaborates themes presented by earlier critics, such as Johann Friedrich Reichardt, and his insights were mediated by the limited availability of Palestrina's works at the time. See Garratt, James, Palestrina and the German Romantic Imagination (Cambridge: Cambridge University Press, 2002), 43.CrossRefGoogle Scholar

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48 Michaelis, Christian Friedrich, Ueber den Geist der Tonkunst und andere Schriften (Chemnitz: Gudrun Schröder, 1997), 240 Google Scholar. The article was originally published in Berlinische musikalische Zeitung 1/38 (1805), 149–150.

49 Wendt also describes old music as having ‘the appearance of following a predetermined plan’. To him Haydn was a transitional figure, displaying both pre-modern and modern compositional tendencies. Senner and Meredith, The Critical Reception of Beethoven's Compositions, volume 2, 197.

50 Scheibe, Johann Adolph, Critischer Musikus, expanded edition (Leipzig: Breitkopf, 1745), 134 Google Scholar; translation adapted from Mirka, Danuta, ‘Introduction’, in The Oxford Handbook of Topic Theory, ed. Mirka, Danuta (New York: Oxford University Press, 2014), 5 Google Scholar. For more on Scheibe's criticism see Wilson, Dora, ‘Johann Adolph Scheibe's Views on Opera and Aesthetics’, The Opera Quarterly 2/2 (1984), 49–56.CrossRefGoogle Scholar For a discussion of national styles in mid-century music criticism see chapter 3 of Morrow, Mary Sue, German Music Criticism in the Late Eighteenth Century (Cambridge: Cambridge University Press, 1997 CrossRefGoogle Scholar).

51 The elegiac moderns’ perception that the musical era of Haydn, Mozart and Beethoven was intrinsically experimental is a position espoused by Webster, James in ‘Between Enlightenment and Romanticism in Music History: “First Viennese Modernism” and the Delayed Nineteenth Century’, 19th-Century Music 25/2–3 (2001–2002), 108–126.CrossRefGoogle Scholar

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53 Here I follow the argument in Littlejohns, Richard, ‘Iniquitous Innocence: The Ambiguity of Music in the Phantasien über die Kunst (1799)’, in Music and Literature in German Romanticism, ed. Donovan, Siobhán and Elliott, Robin (New York: Camden House, 2004), 1–12.Google Scholar

54 Tieck, Phantasus, volume 1, 468–469. Over a century later, Theodor Adorno concedes the force of Tieck's bleak conclusion about the music of the period with the same mythical reference: ‘Beethoven – his language, his substance and tonality in general, that is, the whole system of bourgeois music – is irrecoverably lost to us, and is perceived only as something vanishing from sight. As Eurydice was seen. Everything must be understood from that viewpoint’. Adorno, Theodor, Beethoven: The Philosophy of Music, ed. Tiedemann, Rolf, trans. Jephcott, Edmund (Stanford: Stanford University Press, 1998), 6 Google Scholar. Original italics.

55 For example, see Chua, Absolute Music, 71–72.

56 Tieck, Ludwig and Wackenroder, Wilhelm Heinrich, Phantasien über die Kunst, für Freunde der Kunst (Hamburg: F. Perthes, 1799), 200–201 Google Scholar; translation adapted from Wackenroder, Wilhelm Heinrich, Confessions and Fantasies, trans. Schubert, Mary Hurst (University Park: Pennsylvania State University Press, 1971), 193.Google Scholar

57 Richter, Jean Paul, Horn of Oberon: Jean Paul Richter's School for Aesthetics, trans. Hale, Margaret (Detroit: Wayne State University Press, 1973), 93–94 Google Scholar; Richter, Jean Paul, Vorschule der Aesthetik, two volumes, volume 1 (Vienna: Gräffer und Härter, 1815), 152.Google Scholar

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60 Hoffmann, E. T. A. Hoffmann's Musical Writings, 370–371; Hoffmann, Schriften zur Musik, Nachlese, 227–228.

61 Hoffmann, E. T. A. Hoffmann's Musical Writings, 355; Hoffmann, Schriften zur Musik, Nachlese, 212.

62 Hoffmann, Schriften zur Musik, Nachlese, 230.

63 Berger, A Theory of Art, 137. Dahlhaus similarly argues that the metaphysical essence of music had fled from religious works and then opera, only to empower the symphony in Beethoven's time. See Dahlhaus, Carl, Klassische und romantische Musikästhetik (Laaber: Laaber, 1988), 111–121.Google Scholar The interpretation resurfaces in Garratt, Palestrina and the German Romantic Imagination, 54–55.

64 Hoffmann, E. T. A., Die Serapions-Brüder: Gesammelte Erzählungen und Märchen, four volumes, volume 2 (Berlin: Reimer, 1819), 359–385 Google Scholar. For a discussion on the function of the ‘Alte und neue Kirchenmusik’ section within the book see chapter 4 of Brown, Hilda M., E. T. A. Hoffmann and the Serapiontic Principle (Rochester: Camden House, 2006).Google Scholar

65 Hoffmann, E. T. A. Hoffmann's Musical Writings, 425–426; Hoffmann, Schriften zur Musik, Nachlese, 344. The article was originally published in Allgemeine Zeitung für Musik und Musikliteratur 1/2–3 (1820).

66 A seminal account of the Hauptsatz may be found in Sulzer, Johann Georg, Allgemeine Theorie der schönen Künste, four volumes, volume 2 (Leipzig: Weidmann, 1792), 488 Google Scholar. On its broader influence see Bonds, Mark Evan, Wordless Rhetoric: Musical Form and the Metaphor of the Oration (Cambridge, MA: Harvard University Press, 1991), 90–102 CrossRefGoogle Scholar. On period conceptualizations of musical form in compositional treatises see Burnham, Scott, ‘Form’, in The Cambridge History of Western Music Theory, ed. Christensen, Thomas (Cambridge: Cambridge University Press, 2002), 881–883.Google Scholar

67 Michaelis, Ueber den Geist der Tonkunst und andere Schriften, 278.

68 As Matthew Pritchard observes, the term ‘character’ travelled around quite a bit outside of musical discourse prior to Körner, such as in neoclassical writings on comedy and satire. See Pritchard, Matthew, ‘“The Moral Background of the Work of Art”: “Character” in German Musical Aesthetics, 1780–1850’, Eighteenth-Century Music 9/1 (2012), 65–67.Google Scholar

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70 For a restatement of this claim see von Weiler, G., ‘Ueber den Begriff der Schönheit, als Grundlage einer Aesthetik der Tonkunst’, Allgemeine musikalische Zeitung 13/7 (1811), 121.Google Scholar

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73 Fleischmann, Friedrich, ‘Wie muss ein Tonstück beschaffen seyn, um gut genannt werden zu können? – Was ist erforderlich zu einem vollkommenen Komponisten?’, Allgemeine musikalische Zeitung 1 (1799), 213 Google Scholar. Friedrich Kanne states as much a few decades later in his extensive serialized essay on musical unity. See Kanne, ‘Der Zauber der Tonkunst: Einheit’, Allgemeine musikalische Zeitung, mit besonderer Rücksicht auf den österreichischen Kaiserstaat 5 (1821), 569.

74 Adapted from Senner and Meredith, The Critical Reception of Beethoven's Compositions, volume 2, 199; Wendt, ‘Gedanken über die neuere Tonkunst’, 385. Original italics.

75 Senner and Meredith, The Critical Reception of Beethoven's Compositions, volume 2, 197. Wendt, ‘Gedanken über die neuere Tonkunst’, 382.

76 Gerber, Ernst Ludwig, ‘Eine freundliche Vorstellung über gearbeitete Instrumentalmusik, besonders über Symphonien’, Allgemeine musikalische Zeitung 15 (1813), 457–458 Google Scholar; translation adapted from Webster, James, Haydn's ‘Farewell’ Symphony and the Idea of Classical Style (Cambridge: Cambridge University Press, 1991), 180.CrossRefGoogle Scholar

77 Adapted from Sisman, Elaine, Haydn and the Classical Variation (Cambridge, MA: Harvard University Press, 1993), 236 Google Scholar; Michaelis, Christian Friedrich, ‘Ueber die musikalische Wiederholung und Veränderung’, Allgemeine musikalische Zeitung 6 (1803), 200.Google Scholar

78 In his introduction Michaelis recalls Neefe's earlier criticism of musical repetition. See Neefe, Christian Gottlob, ‘Über die musikalische Wiederholung’, Deutsches Museum 2 (1776), 745–751.Google Scholar

79 Adapted from Sisman, Haydn and the Classical Variation, 236; Michaelis, ‘Ueber die musikalische Wiederholung und Veränderung’, 200.

80 See Saslaw, Janna K., ‘The Concept of Ausweichung in Music Theory, ca. 1770–1832’, Current Musicology 75 (2003), 145–163.Google Scholar

81 Kanne, ‘Der Zauber der Tonkunst: Einheit’, 570.

82 Kanne, ‘Der Zauber der Tonkunst: Einheit’, 577. Gottfried Wilhelm Fink seems to have followed Kanne's criteria in his critiques of Schubert's modulations a few years later. See Clark, Suzannah, Analyzing Schubert (Cambridge: Cambridge University Press, 2011), 67.CrossRefGoogle Scholar

83 Kanne, ‘Der Zauber der Tonkunst: Einheit’, 570.

84 Hoffmann, E. T. A. Hoffmann's Musical Writings, 158; Hoffmann, E. T. A. Hoffmanns musikalische Schriften, ed. Istel, 145.

85 Commentaries on the review are legion. For a discussion of its relation to nineteenth-century analytical traditions see Bent, Ian, ed., Music Analysis in the Nineteenth Century, two volumes, volume 2: Hermeneutic Approaches (Cambridge: Cambridge University Press, 1994), 141–144 CrossRefGoogle Scholar, and Bent, Ian, ‘Plato – Beethoven: A Hermeneutics for Nineteenth-Century Music?’, Indiana Theory Review 16 (1995), 1–33 Google Scholar. For a consideration of it alongside Marx's, A. B. and Berlioz's reviews of the symphony see chapter 5 of Robin Wallace, Beethoven's Critics (Cambridge: Cambridge University Press, 1986)Google Scholar. For its relation to German idealist philosophy see chapter 3 of Bonds, Mark Evan, Music as Thought: Listening to the Symphony in the Age of Beethoven (Princeton: Princeton University Press, 2006)Google Scholar. For a general discussion of Hoffmann as a reviewer of Beethoven's works in the Allgemeine musikalische Zeitung see Schnaus, Peter, E. T. A. Hoffmann als Beethoven-Rezensent der Allgemeine musikalische Zeitung (Munich: Katzbichler, 1977)Google Scholar. Hoffmann also reuses parts of the review with parts from his later review of Beethoven's Op. 70 piano trios in the Kreisleriana section entitled ‘Beethovens Instrumental-musik’ from his first book, Fantasiestücke in Callot's Manier (Bamberg: C. F. Kunz, 1819). See Hoffmann, E. T. A. Hoffmann's Musical Writings, 23–25.

86 Dahlhaus describes the review both as the founding document of musical romanticism and as a watershed moment in the history of music analysis. See Dahlhaus, Carl, Die Musiktheorie im 18. und 19. Jahrhundert, ed. Müller, Ruth E., two volumes, volume 2 (Darmstadt: Wissenschaftliche Buchgesellschaft, 1989), 227–231.Google Scholar

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89 Hoffmann, Schriften zur Musik, Nachlese, 43; translation adapted from Hoffmann, E. T. A. Hoffmann's Musical Writings, 244.

90 Wallace, Beethoven's Critics, 140.

91 Hoffmann, E. T. A. Hoffmann's Musical Writings, 249; Hoffmann, Schriften zur Musik, Nachlese, 48.

92 On the political context of Hoffmann's interpretation see Rumph, ‘A Kingdom Not of This World’, 61–65.

93 Hoffmann, Schriften zur Musik, Nachlese, 51.