69. Mumford Jones discusses aspects of this. Op. cit., page 264.
70. Ibid., page 394.
71. Schonberg, Op. cit., page 83.
72. Ibid.
73. See, for example, Alfred Einstein, A Short History of Music, London: Cassell, 1953, page 143.
74. Schonberg, Op. cit., page 86.
75. The Eroica was originally dedicated to Napoleon but, according to legend, Beethoven changed his mind after Bonaparte proclaimed himself emperor. George R. Marek, Beethoven, London: William Kimber, 1970, page 343.
76. Schonberg, Op. cit., page 89.
77. Einstein, Op. cit., page 146. Marek, Op. cit., page 344.
78. Mumford Jones, Op. cit., page 293.
79. Schonberg, Op. cit., pages 93–94.
80. Mumford Jones, Op. cit., page 394.
81. Einstein, Op. cit., page 152.
82. Ibid.
83. Ibid., page 154.
84. Schonberg, Op. cit., page 98.
85. Ibid., page 109.
86. Barzun, Op. cit., pages 545–546. See also: Baines (editor), Musical Instruments Through the Ages, Op. cit., page 260, for the development of the saxophone.
87. Menuhin and Davis, Op. cit., page 165; Mumford Jones, Op. cit., page 391; and see Baines (editor), Op. cit., pages 124–125, for Paganini and the final evolutionary details about the violin; and page 91 for the differences between English and German (Viennese) pianos.
88. It was said he achieved such excellence because he had sold himself to the devil (he had a cadaverous appearance). He never sought to deny this charge. Menuhin and Davis, Op. cit., page 165; and Mumford Jones, Op. cit., page 410.
89. Schonberg, Op. cit., page 110.
90. Edward Dent says that romanticism was established by the time Weber appeared on the scene. Winton Dean (editor), The Rise of Romantic Opera, Cambridge, England: Cambridge University Press, 1976, page 145.
91. Schonberg, Op. cit., page 112.
92. Einstein, Op. cit., page 152.
93. Schonberg, Op. cit., page 119.
94. Mumford Jones, Op. cit., page 410.
95. Einstein, Op. cit., page 176.
96. Mumford Jones, Op. cit., page 410.
97. Cairns, Op. cit., volume 2, page 1.
98. Mumford Jones, Op. cit., page 375.
99. Menuhin and Davis, Op. cit., page 178.
100. Jeremy Siepmann, Chopin: The Reluctant Romantic, London: Gollancz, 1995, pages 132–138, passim.
101. Ibid., page 103. Schonberg, Op. cit., page 153.
102. Menuhin and Davis, Op. cit., page 180.
103. Einstein, Op. cit., page 199.
104. Eleanor Perényi, Liszt, London: Weidenfeld & Nicolson, 1974, page 56. See also Baines (editor), Op. cit., page 100.
105. Menuhin and Davis, Op. cit., page 165.
106. Though Alfred Einstein reminds us that Liszt rescued the music of the Catholic Church in the nineteenth century. Op. cit., page 180.
107. Ibid.
108. Perényi, Op. cit., page 11.
109. Einstein, Op. cit., pages 158 and 178.
110. Ibid., page 179.
111. Ibid., page 158.
112. Ibid., page 160.
113. Schonberg, Op. cit., page 183.
114. Ibid., page 214.
115. Menuhin and Davis, Op. cit., page 187.
116. Mumford Jones, Op. cit., page 325n; and Menuhin and Davis, Op. cit., pages 187–188.
117. Charles Osborne (selector, translator and editor), The Letters of G. Verdi, London: Gollancz, 1971, page 596.
118. Mumford Jones, Op. cit., page 216.
119. Einstein. Op. cit., page 172.
120. Mary-Jane Phillips-Matz, Verdi, Oxford: Oxford University Press, 1993, page 204.
121. Ibid., page 715.
122. Einstein, Op. cit., page 185.
123. Schonberg, Op. cit., page 230 and ref.
124. Ibid., page 232.
125. Einstein, Op. cit., page 185.
126. Ibid., page 187; but see also: Nike Wagner, The Wagners, London: Weidenfeld & Nicolson, 2000, page 25, for ‘the Tannhäuser problem’.
127. The Nibelungenlied (new translation by A. T. Hatto), London: Penguin Books, 1965.
128. Einstein, Op. cit., page 188.
129. Schonberg, Op. cit., page 239.
130. John Louis Di Gaetani, Penetrating Wagner’s Ring, New York and London: Associated Universities Press, 1978, pages 206–207, for his views about the Rhine, for example.
131. Einstein, Op. cit., page 190; and see Baines (editor), Op. cit., pages 258–259, for some of the new instruments available at Bayreuth.
132. Schonberg, Op. cit., page 244.
133. Einstein, Op. cit., page 191.
134. Nike Wagner, Op. cit., page 172.
135. Einstein, Op. cit., page 192.
136. Di Gaetani, Op. cit., pages 219–238. See also: Erik Levine, Music in the Third Reich, London: Macmillan, 1994, page 35, for Hitler’s sponsorship of Wagner research.
CHAPTER 31: THE RISE OF HISTORY, PRE-HISTORY AND DEEP TIME
1. Frank McLynn, Napoleon, London: Jonathan Cape, 1997, page 171.
2. Jacques Barzun, From Dawn to Decadence, 500 Years of Western Cultural Life, New York and London: HarperCollins, 2000, pages 442–444.
3. Ibid., page 442.
4. Ibid., pages 395–396.
5. Roger Smith, Op. cit., page 372.
6. Ibid., page 373.
7. Ibid., page 374.
8. Boorstin, The Seekers, Op. cit., page 210, for Bertrand Russell’s and Benjamin Franklin’s criticism of Hegel.
9. Paul R. Sweet, Wilhelm von Humboldt: A Biography, volume 2, Columbus: Ohio University Press, 1980, pages 392ff.
10. Roger Smith, Op. cit., page 379.
11. This was very modern in itself, but Humboldt went further, arguing that some languages – German inevitably, and despite Napoleon’s successes – were more ‘suited’ to ‘higher’ purposes. This was the beginning of what would turn into a very dangerous idea.
12. Roger Smith, Op. cit., page 382.
13. Ibid., page 385.
14. Ibid., page 387.
15. David Friedrich Strauss, The Life of Jesus, Critically Examined, edited and with an introduction by Peter C. Hodgson, London: SCM Press, 1972, page xx.