[773W-{9-12/70} Beethoven: PW Vol. V, p. 74]
[P. 74] {FEUER} “So wakes the child from the night of the mother-womb, and answer it the mother’s crooning kisses; so understands the yearning youth the woodbird’s mate-call, so speaks to the musing man the moan of beasts, the whistling wind, the howling hurricane, till over him there comes the dreamlike state in which the ear reveals to him the inmost essence of all his eye had held suspended in the cheat of scattered show, and tells him that his inmost being is one therewith, that only in this wise can the Essence of things without be learnt in truth.
{FEUER} The dreamlike nature of the state into which we thus are plunged through sympathetic hearing – and wherein there dawns on us that other world, that world from whence the musician speaks to us – we recognise at once from an experience at the door of every man: namely, that our eyesight is paralysed to such a degree by the effect of music upon us, that with eyes wide open we no longer intensively see.” [773W-{9-12/70} Beethoven: PW Vol. V, p. 74]
[774W-{9-12/70} Beethoven: PW Vol. V, p. 75-76]
[P. 75] {SCHOP} {FEUER} “To gain a glimpse of his [the composer’s] procedure, we again can do no better than return to its analogy with that inner process whereby – according to Schopenhauer’s so luminous assumption – the dream of deepest sleep, entirely remote from the waking cerebral consciousness, as it were translates itself into the lighter, allegoric dream which immediately precedes our wakening. We have seen that the musician’s kindred glossary extends from the scream of horror to the suave play of soothing murmurs. In the employment of the ample range that lies between, the musician is controlled, as it were, by an urgent impulse to impart the vision of his inmost dream; like the second, allegoric dream, he therefore approaches the notions (Vorstellungen) of the waking brain – those notions whereby it is at last enabled to preserve a record, chiefly for itself, of the inner vision. (…) [P. 76] Thus, though Music draws her nearest affinities in the phenomenal world into her dream-realm, as we have called it, this is only in order to turn our visual faculties inwards through a wondrous transformation, so to speak, enabling them to grasp the Essence-of-things in its most immediate manifestment, as it were to read the vision which the musician had himself beheld in deepest sleep.” [774W-{9-12/70} Beethoven: PW Vol. V, p. 75-76]
[775W-{9-12/70} Beethoven: PW Vol. V, p. 79]
[P. 79] {FEUER} “If, retaining our oft-adduced analogy of the allegoric dream, we mean to think of Music as incited by an inner vision (Schau) and endeavouring to convey that vision to the world without, we must subsume a special organ for the purpose, analogous to the Dream-organ in the other case, a cerebral attribute in power whereof the musician first perceives the inner In-itself close-sealed to earthly knowledge (das aller Erkenntniss verschlossene innere Ansich): a kind of eye, when it faces inwards, that becomes an ear when directed outwards. For the most speaking likeness of that inmost (dream-) image of the world perceived thereby, we have only to listen to one of those famous church-pieces of Palestrina’s. (…) … we here are given an image almost as timeless as it is spaceless, an altogether spiritual revelation; and the reason why it moves us so indicibly is that, more plainly than all other things, it brings to our consciousness the inmost essence of Religion free from all dogmatic fictions.” [775W-{9-12/70} Beethoven: PW Vol. V, p. 79]
