HERMANN HESSE AND THE DIALECTICS OF TIME Salvatore C. P. ...

This chapter, which is the necessary premise to Chapter 3, constitutes a
continuum with the latter. In this context, our aims are as follows:
i) to underline the ties between Hesse's conceptual framework and the dialectic
nature of both the sonata form (especially during the Romantic period) and
the counterpoint technique (an essential element of the Baroque and Classic
epochs), the emphasis being on the antagonistic opposition of two themes in
the former and on the reciprocity and interplay of the voices in the latter (see
2.4);*
ii) to point out the emergence of positions close to existentialism (see the parallel
with Wagner in 3.2), despite the prominence of Classical and Romantic
elements in Hesse's cultural background;
iii) to investigate the extent to which Hesse's dialectics informs his discourse on
music (see the contrast between Classical music and jazz in 3.4 or the
contradictory statements on the nature of music in 2.4.1, 'Ungestaltbare
Gestalt'); and
iv) to highlight the symbolic value of music, which Hesse connects to ethics and
to an atemporal dimension, of which the compositions of Bach and Mozart are
ideal harbingers (see 3.3, Music: 'Das bedeutet: die Welt hat einen Sinn').
For our purposes, Schneider's overview (2009) of Hesse's ties with music as well as
his up-to-date references to critical studies on the subject were a valuable source of
information for this chapter. Moritz's monograph (2005) provided excellent insights
into the 'musicality' of Hesse's prose, especially in Siddharta. Ziolkowski's analysis of
Der Steppenwolf (1965) became an important point of departure for investigating on
correspondences between Hesse's work and musical forms, especially the sonata
form and the counterpoint technique. 5 Valentin (1998) prompted the elaboration on
the ethical dimension of music in Hesse. Finally, the contributions of Fumagalli
4 As mentioned in Chapter 1 (note 9) employ the term 'Classic' to indicate the period spanning from the early
decades of the eighteenth century to the early nineteenth century. As indicated by Grout: 'Classic has been
applied most narrowly to the mature styles of Haydn and Mozart and more broadly to music of a period that
extends from the 1720s to around 1800' (426; original emphasis).
5 Taking his cue from Ziolkowski, Gianino (1999) identifies excerpts in Gertrud that can be linked to the
dynamics of the sonata form. His acute observation on Hesse's reference to Reger in 'Eine Senate' proved
invaluable to our argument in 2.2.
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