The sublime

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The sublime denotes in an aesthetic, religious or ethical respect the impression of something great or sacred , which removes the barriers of the earthly and finite from the mind and thought and is associated with awe , adoration and respect as well as with a specific type of horror or horror. In aesthetics it is a complementary category to the beautiful .

Terms

The distinction between the sublime and the beautiful seems to be purely western and occidental ; The eastern philosophy , especially the Chinese , do not know like.

In the Romance languages, as in English, the term “sublime” is used for “the sublime”. If the translation into German is incorrect, this can lead to misunderstandings, as the verb " sublim " means "subtle" and "subliminal". The verb denotes something that can only be perceived with a keen intuition.

Both cases originate from Latin. "Sublime (ite)" stands for the (literal) subliminal, that is, that which is barely consciously perceptible or that which is spiritual and beyond. In contrast, “sublime (at) um” denotes the “mighty sublimity” (such as that of Augustus ). Both terms are derived from “ limes ” or “limite”.

Aesthetic theory

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Antiquity to Burke

The sublime already played a major role in Aristotle's theory of tragedy . As a stillage , it is described in ancient rhetoric as a sublime style within the so-called three-style theory (genus grande). Central is the treatise Peri hypsous , which is usually attributed to Longinos (i.e. pseudo-Longinos ; probably 1st century AD). The sublime is described there as that which moves and shakes the listener. The talent for the sublime is innate and cannot be achieved through knowledge of the rules. The treatise on Pseudo-Longinos was rediscovered in the 16th century. It was first printed in 1544. It plays a central role in the Querelle des Anciens et des Modernes (French for dispute between the old and the new ) between Boileau and Perrault .

In the philosophy of modern times the sublime / Sublime is first of Edmund Burke brought into the discussion. With his work A philosophical inquiry into the origin of our ideas of the sublime and beautiful , 1757 (German: Philosophical investigation into the origin of our ideas of the sublime and beautiful) , he was the first aesthetician to distinguish the sublime from the beautiful. According to Burke, the sublime triggers a "form of terror or pain"; it creates a "delightful horror".

“A kind of horror or pain is always the cause of the sublime.” - “I call its highest degree the shivering ; the subordinate degrees are reverence, admiration and respect [...]. "

German philosophers criticized Burke's concept of the sublime as too one-sided. He only fixes the "terribly sublime" and not also the "solemn sublime" or the sublime that works "with quiet majesty" (according to Friedrich Ludewig Bouterweck in his Aesthetics , 1806). Gustav Theodor Fechner complained in his pre-school for aesthetics (Leipzig 1876) that the Gothic cathedral or the starry night sky were not affected by Burke's term.

Kant

The sublime as "elevation" above sensuality

Immanuel Kant , who treats aesthetics in his Critique of Judgment , defines the beautiful as that which pleases without interest, out of itself, “without concepts, as an object of general approval”. The beautiful evoke a feeling of pleasure, which - in contrast to purely sensual pleasure - he considers generalizable. It is neither useful nor morally good in itself. Referring back to Burke, Kant also delimits the sublime from the beautiful. For Kant an object is sublime when it evokes sublime ideas in the perceiving subject . He finds such objects above all in nature, whereby the mental constitution of the observer (the subject) plays the decisive role, because nature alone is not sublime without the rational ideas of the subject:

“So the vast ocean, indignant by storms, cannot be called sublime. His sight is dreadful; and one must have already filled the mind with all sorts of ideas if it is to be attuned to a feeling through such a perception which is itself sublime. "

In the face of the endless sea, according to Kant, man recognizes his powerlessness. However, he could counter the overwhelming power of nature with the knowledge that “although man would have to be subject to that violence”, his “humanity”, the awareness of “his own sublimity of destiny”, remains unaffected. His inferiority as a sensory being turns into the awareness of his superiority as a moral being. It is precisely this moral and spiritual overcoming of the sensual nature of man that distinguishes the sublime:

“What is beautiful is what pleases in mere judgment (that is, not by means of the sensation of the sense according to a concept of the understanding). From this it follows that it must please without any interest. What is sublime is what is immediately pleasing through its resistance to the interest of the senses. "

A “movement of the mind” is decisive for the sublime. For Kant, “what is simply great”, “what is great beyond comparison” is sublime. The “inappropriateness of our ability to estimate size” arouses the feeling of a “supernatural ability in us”.

Schiller

The sublime as "exit from the sensual world"

Friedrich Schiller follows on from Kant and distinguishes the sublime from the beautiful in that the latter is an expression of freedom within human nature; the sublime, on the other hand, independent of the sensible, tangible world elevate him above his nature. The beautiful binds us to the sensual world, whereas the sublime liberates us from it. According to Schiller, the sublime consists “on the one hand of the feeling of our powerlessness and limitation to encompass an object, on the other hand of the feeling of our superior power, which is not frightened of any limits and that which submits itself spiritually to which our sensual powers are subject”. With the sublime we feel free "because the sensual drives have no influence on the legislation of reason, because here the spirit acts as if it were not subject to any laws other than its own". The sublime “gives us an exit from the sensual world” and is at the same time “a mixed feeling. It is a combination of sorrow ... and happiness ... "- In the sublime" reason and sensuality do not match, and it is precisely in this contradiction between the two that lies the magic with which it grips our mind ":

“The sublime object is twofold. We either relate it to our comprehension and succumb to the attempt to form an image or a concept of it; or we relate it to our life force and regard it as a power against which ours disappears into nothing. But although in one case as in the other we get the embarrassing feeling of our limits through its cause, we do not flee it, but rather are drawn to it with irresistible force. Would this be possible if the limits of our imagination were at the same time the limits of our comprehension? "

Schiller sees in dignity the expression of a lofty disposition .

Adorno and Lyotard

The limitation and delimitation of art

Among the philosophers of the 20th century, the sublime or sublime played a prominent role, especially with Theodor W. Adorno and Jean-François Lyotard . The latter is based on the experience, also mentioned in Kant, that the sublime in art can only inappropriately imitate nature . For Hegel , too , the sublime was “the attempt to express the infinite without finding an object in the realm of the phenomena that would prove to be suitable for this representation”. Both Lyotard and Adorno insist that a transposition of the sublime into the sphere of the political must be ruled out, because this would result in either terror or fascism .

Contrary to convention, Adorno in his Aesthetic Theory reinterprets the sublime in a category of the experience of “man's self-awareness of his naturalness” and transfers it to art as the idea of ​​justice against the heterogeneous and the “salvation of the many in one”. In doing so, Adorno deconstructs the self-sufficiency of the subject, as found in Kant. There is no subject determined purely by inwardness that can do without an outside. This marks the crying for Adorno:

“The mind becomes less aware of its own superiority, as Kant would like, before nature than its naturalness. This moment moves the subject to weep in front of the sublime. Mindfulness of nature dissolves the defiance of its self-determination: "The tear wells up, the earth has me again!"

Lyotard is impressed by Kant, but, unlike Kant, rejects the subject projecting his rational ideas onto the object. Rather, he would like to teach the subject to listen to the naked presence: The feeling of the sublime is therefore no longer the feeling of the there unattainable for the subject, but it arises from the here and now: "that here and now there is something that" exists «.” It is wondering about “that something is and not much more is nothing.” For Lyotard, this goes hand in hand with the guilt towards the presenter for bringing this (in art) to representation - a process that of course is never completed, and so it depends on the creation of the work, not on the fact that the debt would be “paid off” with its completion. What remains is thus always an unrepresentable residue, something that eludes representation. It was similar with Kant: Here the feeling of the sublime arose from the fact that what was sensually viewed cannot be put into terms and thus transcends the conceivable. The task of art was to present this evading inconceivable according to the rules of taste. This was associated with a feeling of displeasure for the recipient, which rose from what was withdrawn, but the form of the representation itself remained pleasant, understandable, recognizable. For a postmodern aesthetic of the sublime, Lyotard now demands that the art rules of taste be given up and thus the form itself alludes to something that cannot be represented. The postmodern art denied the consolation of form and of "good taste", which makes it possible to share the feeling of the sublime.

Lyotard resolutely opposed demands that art should devote itself again to the representation of the real and thus participate in the “project of modernity” ( Habermas ). The autonomy of art cannot be questioned; if you do this anyway, the answer is: "War on the whole, let's testify for the unrepresentable, let's activate the differences, let's save the differences, let's save the honor of the name."

The sublime in music

Since the beginnings of aesthetic reflection, music has been closely linked to the sublime. The philosophical theories about the sublime that referred to the arts, however, often excluded music, not infrequently even explicitly. In depictions of sublimity, when the music is mentioned, it is usually mentioned at the end. One reason is that even in antiquity music represented a kind of extreme in many ways, for example as that which represents the origin of everything that exists, or as the display of extreme subjective inwardness. With pseudo-Longinos in the 1st century, music hardly occurs; instead, the word in speech and poetry is considered the medium in which sublimity is shown.

17th century

From the late 17th century, with the dispute over the validity of ancient art and philosophy in the Querelle des Anciens et des Modernes, the discussion about the sublime also began in music. The discussion about an aesthetic category beyond the beautiful in music ranges from this point in time to the present.

18th century

The reception of the work of Georg Friedrich Händel (1685–1759) since the middle of the 18th century is strongly influenced by the confrontation with the sublime. The use of the concept of sublimity is widespread and fundamental in the reception of Handel's works in the second half of the 18th century. According to the opinion of the time, they could only be described with the term sublimity. In the encyclopedia of the general theory of the fine arts (second half of the 18th century), Johann Georg Sulzer also believes that Handel achieved the sublime in his music.

The new aesthetic and psychological orientation towards the sublime also had consequences for opera in the 18th century. For the time of Sturm und Drang (approx. 1765–1785) it is the great tragic operas that create the demand for an anti-classical, radical counter-aesthetic and a sublime artistic experience of rationality and sensitivity. A new expressive aesthetic should no longer just depict affects , but create them. With this individualization and psychologization of the affects, the passions are valued as passions, which at the same time meant turning away from the moral conceptions and epistemological ideas of rationalism in favor of a newly understood autonomy of one's own feeling. The pleasure in passions, the fascination with horror were still almost unthinkable for rationalism, but central to speculations about the sublime in the 18th century. In these ideas about the sublime, affect itself becomes pleasure. However, the difference between art and life remains crucial and an awareness of the distance to the horror observed remains. Opera can implement the conception of the sublime better than the bourgeois drama of the Enlightenment or the sensitive Singspiel . Around 1800, with the beginning of the appreciation of instrumental music, a new chapter in the history of music and philosophy began.

19th century

Schiller's confrontation with the sublime in Kant is central to the musical aesthetics of the 19th century, even if this already shows shifts in the meaning of the concept of the sublime. Thanks to the then still young category of the sublime, in the 19th century the sacred and sacred music can be preserved in profane secular and secular music.

Friedrich Wilhelm Joseph Schelling (1775–1854) recognized the archetypal existence of music in the universe around 1800 in connection with the idea of ​​the spherical harmony of antiquity. He sees the movement of the planets as rhythm and melody, the harmony in the movement of comets. Taking this as an abstract basis, he is of the opinion that in art and philosophy the archetypes of things should be represented, not real things. For Schelling, the art form that can achieve this is music. In music, as in other arts, the “imagination of the infinite into the finite” takes place, but in music even from the supersensible to the perceptible sound. For Schelling, this is where the sublime that unites with beauty works.

As an early example of the confrontation with the sublime is Christian Friedrich Michaelis , of 1805 in the Berlinische musical newspaper defined the sublime: "The feeling of the sublime is excited by music when the imagination to boundless, immeasurable, Invincible will be charged."

The sublime is also generally one of the central categories that determined the aesthetic reflection on music between 1780 and 1840. It was the normative, ideal-typical category that determined how art should be. The value of the art of the present and the future should be judged on the basis of this category. In the early 19th century, the sublime was almost exclusively associated with the oratorical style of Handel (magnificent-sublime) and Johann Sebastian Bach (deep-sublime).

In church music of the early 19th century, Philipp Spitta (1841–1894) emphasized sublimity and impersonality as requirements. The individual should be kept within due limits with her and instead the feelings and moods of the community should be expressed. Here the sublime is understood as a normative concept, music should have the highest standards, should point away from prosaic reality, and distance itself from music that is only pleasant or trivial. In a further step, however, the sublime also has a religious claim here.

The aesthetics of absolute music (from 1850) transferred the conception of Sturm und Drang to instrumental music, which in music history initially meant the end of baroque opera.

For Richard Wagner (1813–1883) the sublime is a central category. At first he saw the sublime in Ludwig van Beethoven's (1770–1827) music, later the creation of the sublime became Wagner's own claim. Friedrich Nietzsche (1844–1900) wants to continue the discussion about the sublime and ultimately transforms it into a polemic against a tame concept of beauty. In his early work Nietzsche was still on the side of the aesthetics of the sublime; later, with the relationship to Wagner, the relationship to the sublime also changed.

From today's point of view, the efforts of 19th century music feel bound to a bourgeois pathos tending towards bombasticity , for example when Richard Strauss (1864–1949 ) tries in Eine Alpensinfonie (composed around 1900), with a large number of horns, the mightiness of the Alps to evoke. The question here is whether bombastic music can redeem the philosophy of the sublime.

20th century

The compositions of the Viennese School (from the beginning of the 20th century) around Arnold Schönberg are often considered to be those that take into account the failure of the imagination and the violence of the pretense of reason in terms of Adorno's views. In them a demonstration of the limits of the imagination comes into its own through a kind of negative representation of what can no longer be represented, which corresponds to Kant's idea of ​​negative pleasure.

Nicolai Hartmann (1882–1950) sees tangible values ​​in a musical work, including the sublime. Music is a succession of different layers. In active listening and the synthetic summing up of temporally divergent events in music and their themes, sections, sentences, in listening to sound and form, tangible values ​​can be felt such as the sublime, the sphere of integrity, religiosity and values ​​of the age from which the Work originates. In the behavior towards the aesthetics of the music, emotional tones appear in the person, which belong to an original perception of the person. Musical forms are particularly suitable for expressing mental processes because they are essentially related to them in some respects, for example in terms of temporal expanse, immorality, dynamism and the interplay of tensions and solutions. Therefore music gives rise to contents that cannot be expressed in language. The spiritual content emanates from the music. There is a kind of aesthetic objectivity, but the listener is drawn into the movement like in no other art and vibrates through it and with it.

Albert Wellek (1904–1972), one of the founders of music psychology , followed Nicolai Hartmann's view at the beginning of the 1960s and reflected on the nature of the musical. In search of knowledge of the aesthetic value of music in general, he sees connections with lust, vitality and the use of music, but also asks about ethical and aesthetic values ​​of music. The question of the relationship between ethical and aesthetic values, which cannot be precisely stated, plays a role here. It depends on the attitude of the person according to which values ​​he looks at an object. However, according to Wellek, a solution to the question of the relationship between the aesthetic and the ethical can be that the prerequisite for aesthetic values ​​are the “moral values ​​incorporated into the formation” (Hartmann). The aesthetic value can rise above the moral exactly where a value is correctly felt and correctly answered. In a work of art, therefore, the morally sublime also enables the aesthetically sublime. According to Wellek, this is also what was called the morally beautiful in antiquity . The assignment of the respective musical means to the types of the musically beautiful must be sought from vitality in the direction of the aesthetically sublime and the appropriate musical means to imitate the environment must be found. According to Wellek, the tonic is least reminiscent of the means that humans find in their environment and nature and must therefore increase in the direction of the sublime. He cites Bach's The Art of Fugue as an example of this . This assignment of the musical means to the types of beauty includes the Greek ethos to -Teaching that for the presentation of ethical music from the Tongeschlechtern went out. Wellek makes a classification that recognizes ethical music, practical music, enthusiastic music in antiquity and then from Kant to modern times the tragic, graceful, comical, vitalistic and sublime. Together with the musicologist Arnold Schering, he suggested a new hermeneutic in which the concept of affect and the primal experience of sound should take center stage.

Modern and post-modern

Only with a reappearance of the sublime in modernity , in which the sublime may even be the central category, and in postmodernism , Baroque opera also regains importance. In modernity and postmodernism, the sublime is seen as a different aesthetic that can react appropriately to the events of the 20th and 21st centuries, a time in which people no longer believe in the great narratives and the development of the individual, but rather in the individual only appears in fragments in moments.

Contemplations of the Present

In Beethoven's Pastorale one can try to see the occasion character of the external thing, described by Kant, for the sublime feeling inside the subjective feelings.

In the present, the sublime is also viewed critically in music: through a certain claim to totality, the sublime can also be shifted into twilight and functionalized.

The question of the sublime in the productions of Wagner's music at the Bayreuth Festival is occasionally debated in the present.

The opera as a total work of art , as a synthesis of word, sound, image and play, was from the beginning in the endeavor for the festival , the festive and the special. Richard Wagner and his heirs in particular made the claim of exclusivity by wanting to limit performances of Wagner's last opera Parsifal exclusively to the Bayreuth Festival and even demanding special legislation for this from the German Reichstag . The entire Wagner oeuvre was focused on the sacred and sublime, but was redeemed in three pieces of music in particular: Lohengrin's confession “In a distant land, inaccessible to your steps”, Isolde's love death and Siegfried's funeral march from III. Act of Götterdämmerung . It goes without saying that the entire symphonic oeuvre of Brahms , Bruckner and Mahler can be subsumed under the pursuit of the sublime, but there were and are three works of the Viennese classic that primarily represent the sublime even without image and play:

literature

  • Theodor W. Adorno : Aesthetic Theory . Suhrkamp, ​​Frankfurt am Main 2003, ISBN 3-518-29307-9 (Volume 7 of the work edition).
  • María Isabel Peña Aguado: Aesthetics of the sublime: Burke, Kant, Adorno, Lyotard . Passagen Verlag, Vienna 1994, ISBN 3-85165-088-3 .
  • Edmund Burke : Philosophical investigation into the origin of our ideas of the sublime and the beautiful . Meiner, Hamburg 1989, ISBN 3-7873-0944-6 .
  • Jihae Chung: The sublime in the cinema: Aesthetics of a mixed feeling (= series of publications on the textuality of film Volume 7), Schüren, Marburg 2016, ISBN 978-3-89472-910-3 (Dissertation University of Bremen 2014, 412 pages, illustrations, 21 cm).
  • Robert Doran : The Theory of the Sublime from Longinus to Kant . Cambridge University Press, Cambridge 2015.
  • Reinhard Hoeps : The feeling of the sublime and the glory of God. Studies on the relationship between philosophical and theological aesthetics , Echter, Würzburg 1989, ISBN 3-429-01246-5 .
  • Torsten Hoffmann: Configurations of the sublime. On the productivity of an aesthetic category in the literature of the late 20th century . de Gruyter, Berlin / New York 2006, ISBN 3-11-018447-8 .
  • Hans Robert Jauß (Ed.): The no longer fine arts. Limiting phenomena of the aesthetic . Fink, Munich 1968, ISBN 3-7705-0236-1 (Poetics and Hermeneutics, Volume 3).
  • Immanuel Kant : Critique of Judgment . Suhrkamp, ​​Frankfurt am Main 1974, ISBN 3-518-27657-3 (Volume 10 of the work edition).
  • Susanne Kogler : Adorno versus Lyotard: modern and postmodern aesthetics . Alber, Freiburg 2014, ISBN 978-3-495-48529-3 ( verlag-alber.de [PDF]).
  • Pseudo-Longinus : Of the sublime . Ed .: Otto Schönberger . Reclam, Stuttgart 1988, ISBN 3-15-008469-5 .
  • Jean-François Lyotard : The analytics of the sublime - Kant lessons . Fink, Munich 1994, ISBN 3-7705-2885-9 .
  • James I. Porter : The Sublime in Antiquity . Cambridge 2016, ISBN 978-1-107-03747-2 .
  • Christine Pries (Ed.): The sublime. Between borderline experience and megalomania. VCH, Weinheim 1989, ISBN 3-527-17664-0 (collection of articles, series “Acta humaniora”).
  • Friedrich Schiller : About beauty and art . Munich 1984, ISBN 3-423-02138-1 , pp. 93–115 (section “On the Sublime”, series “Writings on Aesthetics”).
  • Dietmar Till : The doubly sublime. History of a figure of argument from antiquity to the beginning of the 19th century . De Gruyter, Tübingen 2006, ISBN 3-484-18175-3 .
  • Andrea Vierle: The truth of the poetically sublime. Studies of poetic thought; from antiquity to postmodernism . Königshausen & Neumann, Würzburg 2004, ISBN 3-8260-2689-6 (Epistemata: Philosophy Series, Volume 360).
  • Winfried Wehle : About the sublime or about the creativity of the creature . In: Sebastian Neumeister (Ed.): Early Enlightenment . Fink, Munich 1994, p. 195–240 ( ku-eichstaett.de [PDF] Romance Studies Colloquium VI).
  • Wolfgang Welscn : Adorno's aesthetics: an implicit aesthetic of the sublime. In: ders: Aesthetic Thinking. 3. Edition. Reclam, Stuttgart 1999, pp. 114-156.
  • Carstenzell : The double aesthetic of modernity. Revisions of the beautiful from Boileau to Nietzsche . JB Metzler, Stuttgart, Weimar 1995, ISBN 3-476-01384-7 .

Web links

Wiktionary: Sublime  - explanations of meanings, word origins, synonyms, translations

Individual evidence

  1. ↑ Werner Strube: Edmund Burke . In: Julian Nida-Rümelin and Monika Betzler (eds.): Aesthetics and Art Philosophy. From antiquity to the present in individual representations . Krömer, Stuttgart 1998, pp. 151–156, here p. 152.
  2. ↑ Edmund Burke: Philosophical investigation into the origin of our ideas of the sublime and beautiful. 2nd Edition. Felix Meiner Verlag, Hamburg 1989, p. 176.
  3. ↑ Werner Strube: Introduction . In: Edmund Burke: Philosophical investigation into the origin of our ideas of the sublime and the beautiful. 2nd Edition. Felix Meiner Verlag, Hamburg 1989, p. 19.
  4. ↑ [Immanuel Kant: Critique of Judgment - Chapter 32, Second Book: Analysis of the Sublime , § 23 Transition from the ability to judge the beautiful to that of the sublime https://www.projekt-gutenberg.org/kant/kuk/kukp231.html ]
  5. ^ Theodor W. Adorno: Aesthetic Theory. Collected writings, Volume 7, Frankfurt am Main 1970, p. 295.
  6. ^ Theodor W. Adorno: Aesthetic Theory. Collected writings, Volume 7, Frankfurt am Main 1970, p. 285.
  7. ^ Theodor W. Adorno: Aesthetic Theory. Collected writings, Volume 7, Frankfurt am Main 1970, p. 284.
  8. ^ Theodor W. Adorno: Aesthetic Theory. Collected writings, Volume 7, Frankfurt am Main 1970, p. 410.
  9. ^ Jean-François Lyotard: Forays. Vienna 1989, p. 45.
  10. ^ Jean-François Lyotard: The Inhumane. Vienna 1989, p. 303.
  11. ↑ JF Lyotard: Answering the question: What is postmodern? In: Peter Engelmann: Postmodernism and Deconstruction: Texts by contemporary French philosophers. Reclam, Stuttgart 2004, p. 48.
  12. ↑ a b c d e f Cord-Friedrich Berghahn: Sorceresses, Martyrs, Seducers . Baroque heroines and the aesthetics of the sublime. In: Wolfgang Sandberger, Laurenz Lütteken (Eds.): Göttinger Handel contributions . tape 17 . Vandenhoeck & Ruprecht, Göttingen 2016, ISBN 978-3-647-27834-6 , The Sublime and the Baroque Opera, p. 7–37 ( limited preview in Google Book search).
  13. ↑ a b c d Hans-Georg Nicklaus: The sublime in music or From the infinity of sound . In: Christine Pries (ed.): The sublime. Between borderline experience and megalomania (=  Acta humaniora - writings on art history and philosophy ). De Gruyter, Berlin / Boston 2015, ISBN 978-3-05-008289-9 , pp. 217–232 ( limited preview in Google Book Search - reprint of the 1989 edition).
  14. ↑ a b c d Dominik Höink, Rebekka Sandmeier: Handel's Alexander Festival in the mirror of the musical press in the 19th century . In: Anja Bettenworth , Dominik Höink (eds.): The power of music. George Frideric Handel's Alexander's Feast . Interdisciplinary Studies. V & R Unipress, Göttingen 2010, ISBN 978-3-89971-733-4 , p. 146–147 ( limited preview in Google Book search).
  15. ↑ Wolfgang Lidke: Schelling, Friedrich Wilhelm Joseph . In: Friedrich Blume (Ed.): The music in past and present . General encyclopedia of music. With the collaboration of numerous music researchers at home and abroad. tape 11 . Bärenreiter, Kassel / Basel / London / New York, NY / Prague 1963, DNB  550439609 , p. 1660-1662 .
  16. ↑ Wolfgang Sandberger: The Bach picture by Philipp Spittas . A contribution to the history of Bach reception in the 19th century (=  Archive for Musicology / Supplements to the Archive for Musicology . Volume 39 ). Steiner, Stuttgart 1997, ISBN 3-515-07008-7 , pp. 106 ( limited preview in Google Book search).
  17. ↑ Andreas Urs Sommer : Nietzsche commentary: "The Wagner case" and "Götzen-Dämmerung" (=  Heidelberg Academy of Sciences [Hrsg.]: Historical and critical commentary on Friedrich Nietzsche's works . Volume 6 , no. 1 ). De Gruyter, Berlin / Boston 2012, ISBN 978-3-11-028689-2 , pp. 90–91 ( limited preview in Google Book Search).
  18. ^ Walter Wiora : Hartmann, Nicolai . In: Friedrich Blume (Ed.): The music in past and present . General encyclopedia of music. With the collaboration of numerous music researchers at home and abroad. tape 5 . Bärenreiter, Kassel / Basel / London / New York, NY / Prague 1956, OCLC 872689745 , p. 1758-1759 .
  19. ^ Albert Wellek : Music Aesthetics . In: Friedrich Blume (Ed.): The music in past and present . General encyclopedia of music. With the collaboration of numerous music researchers at home and abroad. tape 9 . Bärenreiter, Kassel / Basel / London / New York, NY / Prague 1961, OCLC 59936820 , p. 1000-1034 .
  20. ↑ Tilman Krause : And where is the sublime in Bayreuth? In: The world . August 6, 2015, accessed on September 27, 2019 (example of expressing opinion on the sublime).
  21. ↑ Liane Hein: The sublime in visual art and music using the example of CD Friedrich's “Mönch am Meer” and Beethoven's “Fifth Symphony in C minor” , Technical University Berlin 2006.
  22. ↑ If one chooses Schubert's Unfinished or his Great Symphony in C major instead , the congenial interpreters Sergiu Celibidache and Nikolaus Harnoncourt would be .