Knittel

TBD
Heiligenstadt
Where “Beethoven” may have been viewed as a martyr for his difficulties of being unable to
hear, or idolized as a transcendental genius for being able to compose without his most
important sense, Beethoven is quite reflective and sorrowful. He seems not to want to strive
against his own body for control of his faculties, but just be able to compose as any other
composer would. He fears the unknown future of having to continue without this faculty, or, at
least, one that is greatly diminished.
Hoffman
As mentioned in lecture, the reviewers tend to be relatively verbose, a reflection of the parallel
Romantic movement in written literature. Hoffman also brings up many of the distinctive traits of
Romanticism — such as the spirit world and the supernatural — when describing the works of
Mozart, Haydn, and Beethoven.
“Our Concerts”
The author, through the words of the “postmaster”, makes the claim that concerts of the day are
presented in a way that allows for the audience’s distraction, which promotes inattentiveness to
the art being played on stage. The hall is lit too brightly, the performance lacks a certain air of
grandeur, and… the sexes are seated together? Comparing the concert experience to a horn
performance the postmaster had witnessed during a scenic sunset, he claims that the paradigm
of concerts should be changed to allow for a true appreciation of “the divine”.
“Music in America”
Many points Dvořák brings up are somehow still relevant 130 years later: how America protects
the material interests of the few and neglects the intellectual and artistic pursuits of the many,
and how the social structure is set up in a way that scholars cannot afford to pursue their talents
without sacrificing their livelihoods.
“The Significance of Folk Music to Modern Music”
TBD
Memoirs of an Amnesiac
TBD
Stravinsky on his Octet
TBD
“Music as a Gradual Process”
TBD
“Lecture on Nothing”
TBD