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Göttergunst. What is heard, then, in the heroic Augenblick is nothing less than an
epiphanic revelation under modern conditions: it is a manifestation of the self as
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a local deity, or as Burnham aptly puts it, the music ‘amounts to a theophany in
the Age of Self ’ in which freedom is made eternally present.181 The Beethovenian
Augenblick is a resounding ‘It is’. It is both present (now) and present (here)—or
what Burnham calls ‘immanent presence’ (being).182 It reverberates without decay
as an endless echo. It is a Hegelian totality—the passing of everything finite.183 It is
a heroic act that seizes history and transcends time. And in this eternal moment, we
experience our freedom. Like Nathaniel Ayers in The Soloist, the music can transport
us at speed—in a blink—into an epiphanic present that outlasts the final chords of
the movement. ‘He [Beethoven] is here’, Nathaniel whispers. In this blank state of
freedom, we can utter nothing else but the empty, endless-and-ever-present mantra:
‘Beethoven . … Beethoven’.
the beautiful, but with added horsepower.186 It is also the blank space of Schiller’s
181
Burnham, Beethoven Hero, 150.
182
Burnham, Beethoven Hero, 162–168.
183
See Georg Wilhelm Friedrich Hegel, The Science of Logic, trans George di Giovanni (Cambridge: Cambridge
University Press, 2010), 109.
184
Žižek, The Ticklish Subject, 48.
185
Varilio, Negative Horizon, 40.
186
‘Zweckmässigkeit ohne Zweck’ is most memorably translated in English by J H Bernard as ‘purposiveness
without purpose’; the translation captures the play of words in the German, although its meaning may not be
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Movement I: Nothing 89
play-drive, but with an engine that renders the beautiful sublime. This aesthetic sim-
ulates a prosthetic self that has the potential to speed at will, turning a noumenal
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freedom into a highly fuelled phenomenon. Mounted on its virtual machine, the
self demands a ‘pure surface’ for its fast ride so that the ground itself ‘becomes a mir-
ror of acceleration’. If modern freedom is what Hans Urs von Balthasar defines as ‘self-
movement’,187 then speeding aesthetically gauges this internally generated motion,
allowing the ego to test drive its freedom in the frictionless possibilities offered by
the blank surface of the empty sign.
However, speed kills.
For all its freedom of movement, the heroic music of Beethoven may not be as
free as it claims. In September 2001, John Adams’s Short Ride in a Fast Machine was
programmed for the Last Night of the Proms in London. When two planes crashed
into the twin towers of the World Trade Center in New York, the programme had to
be rearranged. The Adams—a piece that, indeed, goes nowhere fast—was cancelled,
and Beethoven’s Ninth was brought in to speak up for freedom. What the concert
organisers did not realise was that they had replaced a fast ride with the ultimate
‘joy’-ride of humanity—a Freude-mobile ignited by joy’s divine spark plug.
The text in the Alla Marcia of the finale says it all (bs 331ff ). Accompanied
by the militaristic noise of Turkish percussion, Beethoven invites us to ‘hurtle
through the heavens … as joyful as a hero on the way to triumph’.188 Here, the
speed and transcendence of the Beethovenian Augenblick are not only put into
words, but made palpable by a music that gathers force. As with the form of the
Choral Fantasy,189 the Alla Marcia enlists us to join in; the music gets bigger and
louder, until it takes leave of the percussion and chorus, launching into a contra-
puntal gallop that spirals upwards into some abstract celestial realm (bs 431ff ).
With the hunt as the topos of the fugal subject and martial rhythms in the coun-
tersubject, this ‘battle music’, as Wagner calls it,190 moves at full speed—no longer
a march but a stampede (see example 1.15). Eventually, the contrapuntal advance
as clear as that in Paul Guyer’s and Eric Matthew’s recent translation of Kant’s third critique, where the phrase
is rendered ‘purposiveness … without an end’; see Kant, Critique of the Power of Judgment, eg 105, 111, and 112.
187
See Balthasar, Theo-Drama II, in particular the section titled ‘Freedom as autonomous motion’, 213ff.
U.S. or applicable copyright law.
screeches to a halt, reined in by unison commands (bs 517ff ), but these merely
prepare for the chorus to return at full force, transformed into an army united in
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joy and carried forward by the same contrapuntal surge (bs 534ff ). The hero fly-
ing triumphantly through the heavens is now a universal brotherhood speeding
en masse. By the close of the Alla Marcia, everyone is caught up in the speed and
transcendence of the Augenblick.
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Movement I: Nothing 91
EXAMPLE 1.15 Continued.
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But the result is death. Speed kills. When the Turkish music returns at the very
end of the symphony in its full glory (bs 843–940), it arrives as an acceleration,
rocketing the finale into a fast-forward mode of such speed that its joy has often
been (mis)construed as aggression (see example 1.16). The sheer force and excess
of volume bleaches out the details of each individual part as if to incite the mob
to violence with its ‘white noise’. In fact, this was exactly what Wagner did; his
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92 Beethoven & Freedom
performances of the symphony so inspired the audience with political fervour that
when revolutionary fires broke out in Dresden, a guard shouted to Wagner from the
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barricades: ‘schöner Götterfunken’.191 But the violence does not stop there in the
concrete particulars of the political realm. With the failure of the 1848 revolutions,
Wagner simply transferred the general will of the mob to the equally violent and
but far more mindless metaphysics of Schopenhauer’s Will. This logic is a reversed
displacement: the divine will, displaced to the human will, progresses towards the
totality only to return to a divine form, but this time made in the image of modern
autonomy: Schopenhauer’s Will is a blank malignant force that reveals the sheer
Richard Wagner, Braunes Buch, 8 May 1849, cited in Kropfinger, Wagner und Beethoven, 44.
191
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Movement I: Nothing 93
EXAMPLE 1.16 Continued.
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94 Beethoven & Freedom
Will.192 Wagner’s acolyte, Nietzsche, in The Birth of Tragedy, sums up the mean-
ing of joy under such a Will. The final section of the Ninth Symphony represents
a Bacchanalian orgy of intoxicated violence that affirms tragedy as the foundation
of its exuberance: in true heroic spirit, it embraces annihilation as a festival of joy:
amor fati.193 The militarised speed that closes the symphony is a celebration of anni-
hilation before an irresistibly violent Will; it is a deliberate leap of fate with no exit
strategy.
Virilio writes: ‘if the freedom of movement (habeas corpus) would seem to be one of
the first freedoms, the liberation of speed, the freedom of speed, seems to be the ful-
fillment of all freedoms. … The progress of speed is nothing other than the unleash-
ing of violence’.194 As with the Eroica, speed, states Varilio, is ‘the sublimation of
the hunt’ and the ‘potential for war’.195 And inasmuch as battle, claims Kant, trains
the will for freedom, so Beethoven’s heroic symphonies exert their freedom with
a violence that disciplines the formless materials until they are trained to move en
masse at speed in formation as an autonomous force against the world.196 Perpetual
warfare is the only universal for such an Augenblick. Adams’s Short Ride in a Fast
Machine may have been inappropriate to perform just a few days after 9/11, but by
avoiding the recent past for the transcendence of the Ninth, the concert organisers
inadvertently projected the future, where the resilience of the human spirit would
192
Schopenhauer, The World as Will and Representation, 2:450.
193
In 1818, Beethoven jotted down some ideas for several works including a symphony with voices entering in
the finale and an Allegro depicting a ‘festival of Bacchus’. The final section of the Ninth Symphony assumes
this Bacchanalian spirit, although, as Robert Pascall points out, it is a Bacchanal without the wine (Beethoven
had, after all, removed all references to drinking in Schiller’s poem). The composer probably imagined a spir-
itual intoxication of joy to drown the sorrows of the world, but the music by its sheer speed and military
noise inverts this joy into violence, bringing about their coexistence, as Nietzsche imagined in his Dionysian
vision of the Ninth. The relation between the Ninth Symphony and violence continues to the present. It is
explicitly gratuitous in Anthony Burgess’s novel A Clockwork Orange, for example. Hollywood has deployed
the symphony both as a soundtrack for violence in the trailer to A Good Day to Die Hard (2013) where it
accompanies multiple explosions, as well as a plot for violence in Peter Segal’s film Get Smart (2008), in which
the villain, Siegfried (Terence Stamp), plants a bomb in the Walt Disney Concert Hall to be triggered by the
sound of the Ninth’s final chords. See Pascall, ‘Beethoven’s Vision of Joy’, 120–121; Friedrich Nietzsche, The
U.S. or applicable copyright law.
Birth of Tragedy and The Case of Wagner, trans Walter Kaufmann (New York: Random House, 1969); to grasp
the latent violence behind Nietzsche’s imagery of Beethoven’s ‘Hymn to Joy’, the description of intoxicated
‘universal harmony’ in the Ninth Symphony (37–38) should be read in the context of Schopenhauer’s met-
aphysics, where joy is witnessed in the act of heroic annihilation before the Will (104–105 and 126); also see
Chua, Absolute Music, 228–234.
194
Varilio, Negative Horizon, 42
195
Varilio, Negative Horizon, 42 and 38.
196
See Milbank’s discussion of Kant’s Religion within the Bounds of Mere Reason, in Being Reconciled, 15 and 18.
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Movement I: Nothing 95
manifest its freedom as the technological speed of a hero waging a ‘war on terror’, at
times with a ‘purposiveness without purpose’.197
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197
Beethoven’s militarised humanism was realised when the United States justified its invasion of Iraq as a ‘hu-
manitarian intervention’. On the issue of humanitarianism and military intervention, see Craig Calhoun,
‘The Idea of Emergency: Humanitarian Action and Global (Dis)Order’, in Contemporary States of Emergency:
The Politics of Military and Humanitarian Interventions, eds Didier Fassin and Mariella Pandolfi (New York:
Zone Books, 2010), 29–58.
198
Dennis, Beethoven in German Politics, 15–16, cited in Cosima Wagner’s Diaries, trans Geoffrey Skelton, 2 vols
(New York; Harcourt Brace Jovanovich, 1978–1980), 1:246. In this sense, Nietzsche was right to connect the
final moments of the Ninth Symphony to the Birth of Music through the Spirit of Tragedy: the shaping of the
U.S. or applicable copyright law.
symphony from primeval chaos to universal brotherhood arrives at a state of moral perfection where joy is the
stoical internalisation of death celebrated before an indifferent Will.
199
Adorno, Beethoven, 78.
200
In fact, this moment of transcendence signals the end of metaphysics, since, as Gianni Vattimo points out,
transcendence depends on a difference that is erased as soon as it is self-generated. Gianni Vattimo, The End
of Modernity: Nihilism and Hermeneutics in Post-modern Culture, trans Jon R Snyder (Cambridge: Polity,
1988), iii–iv.
201
Adorno, Quasi una Fantasia, 34.
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96 Beethoven & Freedom
202
Adorno, Quasi una Fantasia, 34. Tamasese refers to a tribal chief who uses the severed heads of his prisoners
U.S. or applicable copyright law.
as drums.
203
On the moral basis of heroic societies, see Alasdair MacIntyre, After Virtue: A Study in Moral Theory, 3rd ed
(Notre Dame, IN: University of Notre Dame Press, 2007), 124.
204
The heading of the first London publication of the score from 1809 is titled: ‘Sinfonia Eroica composta per
celebrare la morte d’un’ Eroe’ [Heroic Symphony to celebrate the death of a hero].
205
Milbank, The Word Made Strange, 220.
206
See Dorinda Outram, The Body and the French Revolution: Sex, Class, and Political Culture (New Haven: Yale
University Press, 1989), 39–40 and 78–82.
207
Milbank, Being Reconciled, 18 and 25. Perhaps Kant already indicated the instability of his own position
in his late Essay on Radical Evil. Instead of the usual attribution of evil to ignorance among the Aufklärer,
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Movement I: Nothing 97
‘evil’ that Adorno hears in Beethoven: ‘[M]oral self-determination’, writes Adorno,
‘is ascribed to human beings as an absolute advantage … while being covertly used
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Kant locates its source in the very will that is the agent of autonomy. In effect, modern freedom results in a
power crisis, a fundamental inability of the Will to will its goals from within. For Kant, ‘radical evil concerns
freedom in its process of totalization’, comments Paul Ricoeur. ‘The demand for a complete object of the will
is basically antinomic’, for, ultimately, the will to freedom turns against itself. See Paul Ricoeur, The Conflict
of Interpretations: Essays in Hermeneutics (London and New York: Continuum, 2004), 417–418. On Radical
Evil, see Gordon E Michalson Jr, Fallen Freedom: Kant on Radical Evil and Moral Regeneration (Cambridge:
Cambridge University Press, 1990).
208
Adorno, Beethoven, 80. Also see Adorno, Aesthetic Theory, 62.
209
See Hegel, Phenomenology of Spirit, 355–363 (§582–595), where Hegel subjects the idea of absolute freedom
U.S. or applicable copyright law.
to critique, describing it as ‘a death … which has no inner significance or filling’, and as ‘the empty point of
the absolutely free self ’ (360).
210
Hegel, Phenomenology of Spirit, 361 (§592); the translation is from Hegel, Phenomenology of Spirit, trans
Howard P Kainz (University Park: Pennsylvania State University Press, 1994), 139.
211
Hegel, Phenomenology of Spirit, 360 (§590). Strangely, Adorno, despite his debt to Hegelian philosophy,
ignores the discussion of absolute liberty and terror in Hegel’s Phenomenology. The omission may be a delib-
erate ploy to target Hegel as the philosopher of ‘the Whole’, an idea that Adorno criticises and subsequently
negates. See Nigel Gibson, ‘Rethinking an Old Saw: Dialectical Negativity, Utopia, and Negative Dialectic
in Adorno’s Hegelian Marxism’, in Adorno: A Critical Reader, eds Nigel Gibson and Andrew Rubin (Oxford:
Blackwell, 2002), 268–270.
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212
See Michel Foucault, Discipline and Punish: The Birth of the Prison, trans Alan Sheridan (New York: Vintage
Books, second edition, 1991), 12–13.
U.S. or applicable copyright law.
213
Saint-Edme (Edme-Théodore Bourg), Dictionnaire de pénalité (Paris, 1825), 4:161; quoted in Foucault,
Discipline and Punish, 12.
214
Heinrich Heine, ‘Introduction to Kahldorf: Concerning the Nobility in Letters to Count M von Moltke’, in
Heinrich Heine: The Romantic School and Other Essays, eds Jost Hermand and Robert C Holub (New York:
Continuum Publishing Company, 2002), 45. Heine then compares Fichte to Napoleon, Schelling to the New
Restoration, and Hegel to the Duke of Orléans.
215
Heinrich Heine, Religion and Philosophy in Germany: A Fragment, trans John Snodgrass (Albany: State
University of New York Press, 1986), 107–109.
216
See Milbank, Being Reconciled, 1–25, on the Augustinian definition of evil as a privation of good rather than
a positive attribute.
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Movement I: Nothing 99
music ever to aim at freedom under continued unfreedom’. 217 Beethoven and free-
dom, then, is a cultural trope that readily inverts the highest destiny of the human
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spirit to its basest instincts. The subject in dominating the world and mastering itself
becomes the object of its own oppression. Adorno famously calls this inversion ‘the
dialectic of Enlightenment’.218
217
Adorno, Beethoven, 44.
218
The musical counterpart to the Dialectic of Enlightenment is Adorno’s Philosophy of New Music. The dialectic
is exemplified in Schoenberg’s rationalisation of atonality through the serial technique where a row of the
U.S. or applicable copyright law.
complete twelve pitches of the chromatic scale is used to structure the music: ‘The subject rules over the music
by means of a rational system in order to succumb to this rational system itself ’ (54).
219
See Gunton, The One, the Three, and the Many, 101–125
220
Adorno, Beethoven, 144–145. Adorno does not hear this chord in the Choral Fantasy but in the Ninth
Symphony and the Missa solemnis. Adorno is not explicit about which section of the Missa he is referring
to, but he mentions one section in the Ninth as a ‘decisive’ moment: ‘Ihr stürzt nieder’ (bs 643–646). This
passage in the Ninth, and Adorno’s mention of Beethoven’s Six Lieder, Op 48 No 4, the well-known ‘Die
Himmel rühmen des Ewigen Ehre’, point to similar high-decibel and stratospheric E♭ chords in the Missa
solemnis, mostly likely the opening chord of the Credo and its subsequent reappearances; also see Movement
III, 191–193, and example 3.1.
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