1 ?? IN THEIR OWN WORDS E. T. A. Hoffmann, “Beethoven’s Instrumental Music”(1813) E. T. A. Hoffmann (1776–1822) lived the double life of writer and musician. In the former capacity he was the author of tales ? lled with such fantasy that a cat can tell its life story, or toy soldiers e to life and do battle with an army of mice. Musicians from Schumann to Offenbach to Tchaikovsky have set Hoffmann’s fantastic tales to music, and Brahms was so fascinated by Hoffmann’s character Johannes Kreisler that he adopted this name as a pseudonym. Hoffmann was one of the ? rst eenth-century musicians to seek an outlet for his literary interests in the form of music criticism. He wrote reviews and articles mainly for the Allgemeine musikalische Zeitung (General Musical News), an early musical periodical that was published in Leipzig by the music publisher Breitkopf & H?rtel. His critical interpretation of music by Beethoven was widely admired. In this study of Beethoven’s instrumental music (it ? rst appeared in 1810 and was revised in 1813), he applies the literary term “romanticism” to Beethoven’s style to suggest the powerful expressiveness and emotionality inherent in purely instrumental works. His praise for instrumental music, of which Beethoven’s Fifth Symphony is for Hoffmann the supreme example, pre? gures the theories of “absolute” music by writers such as Edua
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