Heine and the Muse of Music
1950; Routledge; Volume: 25; Issue: 3 Linguagem: Inglês
10.1080/19306962.1950.11787333
ISSN1930-6962
Autores ResumoClick to increase image sizeClick to decrease image size NotesGustav Karpeles, Heine und seine Zeitgenossen (Berlin, 1888), p. 128. Cf. also Heinrich Hubert Houben, Gespräche mit Heine (Frankfurt, 1926), p. 209.Hiller was singularly gullible in believing Heine’s own waggish testimony of his ignorance. The poet was obviously indulging in leg-pulling when he confessed that he had always believed the “Generalbaß” and the “Kontrebaß” were identical, a proof of his egregious ignorance, if it were true. However, in Die Harzreise he shows that he is well aware of the significance of the term “Generalbaß” and uses it correctly.E.g. Alfred Bock, Deutsche Dichter in ihren Beziehungen zur Musik (Leipzig, 1893), p. 236. Walter Silz in his exhaustive study, “Heine’s Synaesthesia” (PMLA, LVII [1942], 474), also accepts the authority of Hiller’s testimony.Karl Robert Heinrich Hessel, Heinrich Heines Verhältnis zur bildenden Kunst (Marburg a. L., 1931), p. 5. It is interesting to note that the critical opinions on music and musicians appearing in Die französische Bühne have been recognized belatedly by the musical profession and appeared in Italian translation in Rivista Musicale Italiana (Vol. XXXV [1938]) under the title, “Enrico Heine critica musicale,” translated by Edoardo Roggeri.Karpeles, op. cit., p. 133.Kurt Sternberg, Heinrich Heines geistige Gestalt und Welt (Berlin, 1929), p. 107.Florentinische Nächte, Heine, VI, 400. All references to Heine are to the Sämtliche Werke, ed. Walzei, Leipzig, 1910–15.“Reise von München nach Genua,” IV, 268.Ibid., pp. 268–69.Florentinische Nächte, VI, 399.Ibid., p. 400.Ibid., IV, 92.Briefe aus Berlin, V, 233.Ibid., p. 227.Cf. Sternberg, op. cit., p. 41.Written on the occasion of Methfessel’s call to Hamburg in 1822. His songs were first collected in Allgemeines Kommers- und Liederbuch (Rudolstadt, 1818). They are still included in modern collections, particularly and most recently, in the collection commissioned by Emperor William II, Volksliederbuch für Männerchor, ed. von Liliencron and Max Friedländer (Leipzig, 1906).“Albert Methfessel,” V, 323.Ibid., p. 324.Cf. Alfred Einstein, Geschichte der Musik (Leiden, 1934), p. 119.Lutezia, IX, 221, No. XLIII.Ibid., p. 224.Ibid.Ibid.Cf. an identical judgment in Schumann’s discussion of Mendelssohn’s “Charakterstücke” in Gesammelte Schriften (Leipzig, 1875), I, 336.Lutezia, op. cit., p. 227.“Musikalische Saison von 1844,” IX, 400.Houben, op. cit., p. 549.Lutezia, op. cit., p. 227.Über die französische Bühne, VIII, 114.Ibid., p. 108.Ibid ., and cf. also Französische Zustände, pp. 155 ff. Artikel V, VI.Über die französische Bühne, VIII, 114.Ibid., p. 103.Ibid., p. 110.Ibid., p. 104.Cf. Lionel Dauriac, Meyerbeer (Paris, n.d.), p. 46.Cf. “Festgedicht,” III, 388 and Lutezia, IX, 86.Cf. E. Th. A. Hoffmann, Dichtungen und Schriften, ed. Walther Harich (Weimar, 1924), “Beethovens C Moll Sinfonie,” p. 129.VIII, 100.Ibid., p. 99.Cf. Werner Hilbert, Die Musikästhetik der Frühromantik (Remscheid, 1911), p. 106.Heine, op. cit., VIII, 100.Cf. his attack on François-Joseph Fétis, leading conservative critic and founder of the Revue Musicale, Heine, ibid., VIII, 100.Ibid., p. 101.“A similar inconsistency may be found in both Wackenroder and Tieck, who vacillate between the two extremes. Cf. Wilhelm H. Wackenroder, Werke und Briefe, ed. von der Leyen (Jena, 1910), I, 188: “Streben sie die reichere Sprache nach der ärmeren abzumessen, und in Worte aufzulösen, was Worte verachtet?” and “Die Musik durchdrang seine Nerven mit leisen Schauern, und ließ, so wie sie wechselte, mannigfache Bilder vor ihm aufsteigen.”—Ibid., p. 130. Cf. also pp. 291 and 306 for a statement of a similar paradox in Tieck’s approach.“Florentinische Nächte, VI, 410 and a further reference to this faculty in Über die französische Bühne, VIII, 125.Cf. Otto zur Linde, Heinrich Heine und die deutsche Romantik (Freiburg i. Br., 1899), p. 131 et passim.Cf. Walzel’s note in VI, 552 for an extensive delimitation of “audition colorée” and fictional associations with music, also Silz, op. cit., p. 488, who concludes, after thorough analysis, that color and sound transfer was “germane to Heine’s nature but synaesthesia was not.”Heine, ibid., VI, 411.Über die französische Bühne, VIII, 125 et passim.A similar construction in poetic form may be found in “An eine Sängerin.” The implicative character of music inspires images here of Roland and his lonely heroism. Cf. I, 54.Op. cit., VIII, 121.“Musikalische Saison von 1844,” IX, 400.Über die französische Bühne, VIII, 123.Florentinische Nächte, VI, 441.III, 251. Cf. also “Mimi,” ibid., p. 245.Op. cit., I, 82 et passim.Lutezia, IX, 277.Ibid., p. 277.Ibid., p. 168 et passim.Ibid., p. 169.Ibid.
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