Wittgenstein the Musical: Notes toward an Appreciation Bla Szabados

Abstract: Wittgensteins works and notebooks contain many remarks on music. This essay collects and collates available materials on the music Wittgenstein listened to, and on the role music played in his life. Besides situating this music and its appreciation in a iennese setting, ! also address, albeit tentatively, the "uestion of the relevance of music to his work in aesthetics and philosophy. ! conclude with comments on real family resemblances and differences between #udwig Wittgenstein the philosopher, and his brother $aul Wittgenstein the concert pianist.
! pass a bunch of musicians in the street. !t%s about &'.(), rehearsal *ust over, they%re standing around outside the side door of the church. A good rehearsal+ and it%s April. They%re laughing, horsing around, talking about shoes, or ta,es, where to go for lunch, anything e,cept what their heads are full of. !t%s a kind of helplessness, you can see they%re still breathing almost in unison, like people the searchlight has passed over and spared, their attention lifts, swerves, settles+ even the gravel dust stuttering at their feet is coherent. -an .wicky, Musicians

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&. An Appetite for 1usic2 !n an engaging little book on 3chopenhauer 1ichael Tanner makes striking observations about the absence of desire for music in the history of philosophy. 4!n the case of music philosophers have, on the whole, shown a notable lack of interest. That is partly because most of them seem to have little appetite for music, a fact to be noted rather than pondered. 3chopenhauer is one of the great e,ceptions, and 5iet6sche and Wittgenstein are two of the others+ 5iet6sche%s philosophy always has music in at least the background, and Wittgenstein certainly thought of music as a deep phenomenon though he wrote little that is valuable.4 /'0 ! think these observations are on the mark as far as generali6ations go. 7owever, what Tanners says about one of the e,ceptions8 namely, the case of #udwig Wittgenstein8 ! find pu66ling. The "uestions that immediately arise are: !f Wittgenstein wrote much about music, which Tanner conversationally implies, where is such a body of work to be found2 Why is most of it without value2 What is the 9little that is valuable: and why2 !n any case, why did Wittgenstein think of music as a deep phenomenon2 These "uestions cry out for answers, or at least for discussion that may be of interest to students of musical aesthetics, to those interested in a dialogue between music and philosophy, to Wittgenstein scholars, and to lovers of music at large. ! suggest that at present we are not in a position to make the sort of evaluation that 1ichael Tanner proposes about Wittgenstein and music. 7ere are a few reasons why. ;ven though Wittgenstein wrote "uite a lot about music, his remarks about music are scattered over his entire corpus, and so far no one has brought them together or taken stock of it. While the masterworks that bear his imprimatur, namely, the Tractatus LogicoPhilosophicus and the Philosophical Investigations, contain many neglected allusions to music, Culture and Value and the Wittgenstein Nachlass une,pectedly present us with a wealth of material on, or related to, music. These materials have not been collected together, nor have they received due scholarly attention, and unless we gather and carefully reflect on them, any *udgment as to value seems premature, even impulsive, if

only because unsupported. 3o the pro*ect of assessment re"uires a gathering of the fugitives, a serious consideration of remarks that philosophers in general tend to be dismissive of or take lightly, giving them the sort of sustained attention routinely given to Wittgensteins other remarks on issues of meaning, reference, intention, and so on. What ! aim to do here is a sort of prelude to such a task of appreciation and assessment. ! begin with the music Wittgenstein listened to and gather the biographical fragments that indicate the role that music played in his life. Then ! turn to the cultural background of in de si!cle ienna to situate Wittgenstein%s musical tastes. Then ! retrieve some of Wittgensteins remarks on music which bear on the "uestion of how they might relate to his lectures on aesthetics and to his philosophical activity. !n closing, ! turn to real family resemblance and difference between #udwig and his brother, the concert pianist $aul Wittgenstein. '. 1usic: Biography or $hilosophy2 When he was working on what now appears as the second part of the Philosophical Investigations, Wittgenstein said to his friend <rury: 4!t is impossible to say in my book one word about all that music has meant in my life,4 adding, 4 7ow then can ! hope to be understood24 /(0 This is an interesting remark for it surprisingly relates understanding music%s significance for Wittgenstein as a person, to understanding his philosophy, since in the conte,t the "uestion 97ow then can ! hope to be understood2: is an allusion to his philosophical work. Wittgensteins comment does not sit well with the analytical traditions sharp divide between biography and philosophy. According to this tradition, whether one loves music or regards it as important is merely of biographical interest, a matter e,ternal to philosophical activity. !n opposition to this, Wittgensteins remark holds forth the prospect of music%s philosophical import =at least for understanding his own philosophy>, thereby straddling the conventional divide between biography and philosophy. /?0 The theme of what can and cannot be said is also struck, since the 9!t is impossible to say in my book one word@: bit resonates with the cryptic utterance of the Tractatus: 9What we cannot speak about we must pass over in silence.: /A0 The early work asserts that ethics and aesthetics are one in that they are both 9transcendental: /B0 , and part of what this means is that through music =or the other arts> the sense and value of human life is sho"n, but nothing can be said about this in a book of philosophy. 3ince the Tractarian admonishment about what can and cannot be said depends on the showCsay distinction, and since the later Wittgenstein re*ected this distinction, the remark to <rury needs to be understood somewhat differently. Dne way to do so is to connect it to the later philosophys view of e,planation and reduction: 9We must do away with all e,planation and allow only description to take its place.: /E0 Df course, such a negative attitude to e,planation is directed to 9out of place: theoretical e,planations, but does not include an aversion to Fe,planation in the sense of clarification of meaning. !n the case of the meaning of music for us, neither a scientific8theoretical, nor a verbal e,planation suffices, and obviously no description is a substitute for listening. !f someone were to ask: What is valuable in a Beethoven sonata2 The se"uence of notes2 The feelings Beethoven had when he was composing it2 The state of mind produced by listening to it2 9! /Wittgenstein0 would reply, that whatever ! was told, ! would re*ect, and that not because the e,planation was false but because it was an e#planation: !f ! were told anything that was a theor$, ! would say, 5o, noG That does not interest meHit would not be the e,act thing ! was looking for.: /I0 This sort of remark, of course, allows room for observations that enable us to hear the music as e,pressive of the human: of the tragic, of the heroic, of the ironic and so on. !f music means a lot to a person then we e,pect him to listen to and appreciate music. Wittgenstein did so whenever he had a chance. And he could not say in his philosophical book how much music meant to him, for that suggests that an e,planation could accomplish this, when what is re"uired is appreciative listening. What we have here is a 9#isten and hear: analogue to the 4#ook and see4 attitude in philosophical in"uiry. What then can we e,pect in the writings of a philosopher with a passionate appetite for music2 We can at least e,pect evidence of philosophi6ing through music, thinking of philosophical issues through the ears, as it were. Wittgenstein does so by drawing analogies between a meaningful sentence and a musical theme, by putting philosophical and musical issues side by side, by letting each shed light on the other. The treatment of such particular analogies in Wittgenstein%s works is a demanding task and is only beginning to be addressed. /J0 The claim that music was an important part of Wittgenstein%s life has strong support from diverse sources: from reports of his friends and family, from his own diaries, and the fre"uent allusions to music in his philosophical lectures and works. 7ere is a recollection of 1aurice <rury%s: 4To watch Wittgenstein

listening to music was to reali6e that this was something very central and deep in his life@! will never forget the emphasis with which he "uoted 3chopenhauer%s dictum, %1usic is a world in itself.%: /&)0 And what Wittgenstein himself writes in a &J(E diary entry confirms a lively, although as we shall see later, a highly discriminate, appetite for music: 4When ! imagine a piece of music, something ! do every day K often, ! rhythmically grind my upper K lower front teeth together. ! have noticed it before but usually it takes place "uite unconsciously. 1oreover it%s as though the notes in my imagination were produced by this movement. ! think this way of hearing music in the imagination may be very common. ! can of course also imagine music without moving my teeth, but then the notes are much more blurred, much less clear, less pronounced.4 /&&0 We do not hear from Wittgenstein%s dentist here with dire warnings about the onset of thinning or disappearing teeth due to these musical grindings, even though later on in life, in a moment of self8reflection, Wittgenstein describes himself as philosophi6ing with 4toothless gums.4 /&'0 (. #udwig the Whistler What then is the sort of music that Wittgenstein imagined every day and often2 We can get a good idea of this by looking into biographical te,ts. !n their e,cellent biographies of Wittgenstein, Lay 1onk /&(0 and Brian 1cMuinness /&?0 allude to his enthusiasm and passion for music, but the material is scattered and in general unrelated to his philosophical activity. To provide some background: he came from a musical home where there were several grand pianos. Lecall the boy Wittgenstein in <erek -arman%s film echoing what Wittgenstein said to N.L. #eavis: 4!n my father%s house there were seven grand pianos.4 /&A0 This is probably the right number, if the pianos in Oarl Wittgensteins houses other than the family home in the Alleegasse are counted. /&B0 !n any event, the Wittgenstein family played music together, arranged for performances at their home, where -ohannes Brahms, -osef #abor and other iennese musical notables were fre"uent guests. The mother played the piano, the father the violin. 7is eldest brother committed suicide when his ambitions as a concert pianist had been apparently thwarted by the father. The older brother $aul was a concert pianist who lost his right arm in World War ! and for whom Lavel composed a piano concerto for the left hand. !t is also noteworthy that, while studying engineering in Berlin, young #udwig is reported to have attended Wagner%s The Mastersingers at least a do6en times. What could he have seen in it that so engaged him2 $erhaps the source of attraction was that the opera simultaneously treats problems of music and life and solves these problems by invoking the need for rules and reverence even within spontaneity. /&E0 These are themes that parallel some of Wittgensteins own philosophical preoccupations, as we shall see later. Although #udwig took piano lessons as a child he got nothing out of it and abandoned it. 7e did not learn to play an instrument until much later, when in the early &J')s he entered Teachers% Pollege, where one of the re"uirements for the diploma was the ability to play an instrument. 7e chose the clarinet, which he could teach himself. 7is sister, 7ermine writes: 41usic, too, came to have an ever stronger attraction for #udwig. !n his youth he had never played an instrument, but as a teacher he had to ac"uire this skill and chose the clarinet. ! think that only from then on did his strong musical sense become really developed+ at any rate, he played with great musical sensibility and en*oyed his instrument very much. 7e used to carry it around in an old stocking instead of in a case, and @he often cut a curious figure.4 /&I0 $aul ;ngelmann, whom Wittgenstein met during the Mreat War and who became a good friend, provides a few more details. 7e tells us that when they first met during the war, Wittgenstein 4played no instrument+ later he learned to play the clarinet, and played it very well+ ! once heard him in 3chubert%s %3hepherd on the Lock%. !nstruments apart, he whistled beautifully. Dn one occasion, when the conversation turned to the viola part in the third movement of a Beethoven string "uartet, he whistled the part from beginning to end, with a tone as pure and as strong as that of an instrument. ! have repeatedly heard him perform such feats.4 /&J0 7ow appropriate whistling the air is for a philosopher who has regard for, and builds on, the everydayG ;ngelmann also notes that Wittgenstein had a detailed knowledge of the whole Western ;uropean musical repertoire, and this was so before he learned an instrument. Lunning in the family then, music was, and though #udwig was not actively engaged in music making until later, he had a participant%s understanding of it through the natural practice of whistling. There is earlier testimony for Wittgenstein as whistler in <avid $insent%s <iaries from &J&' to &J&(, published as % Portrait o &ittgenstein as a 'oung Man . /')0 7aving met Wittgenstein at a Pambridge social, $insent later observes that 4Wittgenstein is very musical with the same tastes as !4, which e,plains why we get on so well together despite having known each other only for three weeks.4 /'&0 They are both 9mad about 3chubert: and start performing 3chubert songs together, $insent taking the piano part and

#udwig whistling the part for the voice. $insent%s diary is full of delightful and informative details about two trips he and Wittgenstein took: one to !celand and one to 5orway. They set out for !celand on 3aturday, 3eptember I th, &J&'. The boat called the %3terling% resembles an ordinary Phannel steamer. 4#unch was at &&.)88consisting of sausagy sorts of things, cold, laid on the table to be chosen from. Afterwards we strummed the piano88for there is one on the ship88 mostly 3chubert songs, of which we have an edition with us.4 Then there is the trip to 5orway. Dn August ()th, &J&(, they sailed on the Wilson #ine 3.3. %;skimo% from 7ull bound for Phristiania. 4The sea seems to be absolutely calm88but it is foggy and the hooter is making an awful row every "uarter of a minute.4 /''0 3oon after landing, Wittgenstein went off to Bergen and ac"uired two volumes of 3chubert songs some of which they performed 9in our customary manner.: /'(0 By 3eptember '&st, &J&(, $insent reports+ 4We have now a repertoire of some ?) 3chubert songs88which we perform88#udwig whistling the air and ! playing the accompaniment.4 /'?0 There is regular and fre"uent attendance at the Pambridge Qniversity 1usical Plub with $insent and others, including Bertrand Lussell. Wittgenstein%s reactions to the program are indicative of his musical tastes. Bach, 1o6art, 7andel, Beethoven, 3chumann, 3chubert and Brahms%s compositions are usually received with enthusiasm, while those of 3trauss usually avoided. Dn Dctober the ? th, &J&', for e,ample, Wittgenstein and $insent attend a concert 9with Brahm%s Le"uiem 4splendidly performed88those clima,es in it are simply indescribable88W said he had never en*oyed it more88and he has heard it pretty often@..The second half of the concert began with two selections from 3trauss% %3alome%: W refused to go in for them, and stayed outside till the Beethoven@.The Beethoven following was the E th symphony88gorgeous.4 /'A0 Again at the Pambridge Qniversity 1usical Plub, on Dctober the ?th &J&(, they attend Beethoven%s 3eptet and 3chubert%s Dctet8 the performance was a bit wooden but en*oyed enormously, especially the Dctet8 4wonderfully mystic and romantic.4 /'B0 The fact that Wittgenstein gave a miss to the 3trauss may be due to an aversion or an indifference, or alternatively to Wittgensteins awareness that he can take in only so much music and appreciate it. Dn another occasion Wittgenstein went to hear Beethoven%s Phoral symphony with Lussell, an event that Wittgenstein later described as 4a turning point in my life4. !n #ondon, about a week later $insent and Wittgenstein heard Beethoven%s violin Poncerto and Brahms% Nirst 3ymphony with 3teinbach conducting. Dn 5ovember the Eth at the Muildhall they hear 1o6art%s 3onata for ' pianos, and 4W was very enthusiastic about the 1o6art.4 /'E0 Two days later, at the Pambridge Qniversity 1usical Plub, they attend <ohnRnyi conducting Beethoven%s ? th piano and iolin 3onata. !f we look at the intervals, we reali6e that Wittgenstein probably attended concerts at least twice a week. There were also 4informal4 concerts, as on 3aturday, April &', &J&(+ where they heard a Phopin fugue, a Bach Nugue, a movement of a Brahms%s 3onata for $iano and iolin and a 1o6art trio. /'I0 And on April the Jth, they go to the Muildhall: 4The program was splendid and included Bach%s Phaconne, a 1o6art 3onata for ' pianos, the Oreut6er 3onata of Beethoven and Brahms% ariations on a Theme by 7aydn. The latter was ama6ing88the most wonderful thing ! had heard for a long while. The theme itself is indescribable8 the variations typical of Brahms at his very greatest, and finally when at the end the theme emerges once more, unadorned, fortissimo and in tremendous harmonies, the effect is to make one gasp and grip one%s chairG4 /'J0 <uring this period of &J&' and &J&( Wittgenstein was also associated with the Pambridge e,perimental psychology laboratory, where, with <avid $insent as sub*ect, he conducted e,periments on the various factors in music appreciation, such as pitch, rhythm and the property of being musically meaningful. Another noteworthy feature of the relationship was that the two friends argued against 4modern music4 with other musically minded students8 taking up all and sundry. /()0 The student who supported modern music was W. 1. #indley: 9/T0hen he and Wittgenstein got arguing about modern music, which was rather amusing. #indley used not to like modern stuff, but has been corruptedG: /(&0 Again, 9Wittgenstein and #indley came to tea: there was a lot of animated discussion about modern musicH#indley defending it against us twoH which was great fun.: /('0 ?. <irge Wittgenstein enlisted as a volunteer in the Austrian army in August &J&? and served to the end of the war when he was taken prisoner. <avid $insent died on the I th of 1ay &J&I. 7is mother wrote to Wittgenstein thus: 41y dear 1r. Wittgenstein, ! know you will be very grieved to hear the sad news ! have to tell you. 1y son <avid was killed while flying. 7e was engaged in research on Aerodynamics and he had done a great deal of very valuable work. 7e was perfectly happy when flying, he loved it@. We are told that the work he

did will be the means of saving many lives in the future and he met his death investigating the cause of a previous accident.4 /((0 Wittgenstein wrote back: 41ost honoured, dear, gracious #ady, Today ! received your kind letter with the sad news of <avid%s death. <avid was my first and my only friend@the hours ! spent with him have been the best in my life, he was to me a brother and a friend. <aily ! have thought of him and have longed to see him again. !f ! live to see the end of the war ! will come and see you and we will talk of <avid. Dne more thing, ! have *ust finished the philosophic work on which ! was already at work in Pambridge. ! had always hoped to show it to him sometime, and it will always be connected with him in my memory. ! will dedicate it to <avid%s memory.4 /(?0 A. The 3econd Poming4 Wittgenstein returned to Pambridge some fifteen years later to begin a new life in philosophy and, we might add, in music88a period that biographer Lay 1onk referred to as 4the 3econd Poming.4 /(A0 1usic continues to play a very important part in his life and is a way he interacts with his friends and students as they listen and discuss it afterwards. <rury recollects a &J() meeting of the 1oral 3ciences Plub in P.<. Broads rooms at Pambridge. 9Before the meeting began, Wittgenstein and ! stood talking looking out of the window+ it was a dull grey evening *ust getting dark. ! told Wittgenstein that ! had been listening to Beethovens 3eventh 3ymphony, and how impressed ! had been by the second movement. Wittgenstein: FThe chord with which that slow movement opens is the colour of that sky =pointing out of the window>. FAt the end of the war, when we were retreating before the !talians, ! was riding on a gun carriage and ! was whistling to myself that movement. -ust at the very end of the movement Beethoven does something which makes one see the theme in an entirely different light.: /(B0 This not only gives us a striking image, but embodies the method of *u,taposition: a sky8scape is put side by side with a piece of music to bring out their respective e,pressive powers. -ohn Oing, who was another student of Wittgenstein in the early thirties recalls: 41usic, indeed was the chief topic of conversation88never philosophy. 1usic was one of the great passions of the 5orfolk Lectory where ! was born and brought up+ and ! kept up my choral singing in various choirs in Pambridge. ! also had a portable gramophone in my digs at $ortugal $lace+ and Wittgenstein came several times to hear some of the few records which ! had. Two records in particular called forth remarkable comments. ! once put on the ' nd, (rd, and ?th movements of Beethoven%s Suartet in P sharp minor, Dpus &(&, played, ! believe by the #ener 3tring Suartet. 7e was rapt in his attention and most e,cited at the end of the playing. 7e *umped up as if something had suddenly struck him and said: %7ow easy it is to think that you understand what Beethoven is saying.% =and here he sei6ed a pencil and a piece of paper> %how you think you have understood the pro*ection% =and he drew two kinds of a circle, thus> %and then suddenly% =and here he added a bulge> %you reali6e that you haven%t understood anything at all.%4 /(E0 Although this may seem obscure, it is really full of significance, since the method of pro*ection concerning "uestions of meaning was occupying Wittgenstein at the time. 4The second comment came from a playing of my then most recent ac"uisition, Brahms%s 3tring Suartet in B flat 1a*or, opus BE. ! told him that ! particularly liked the ( rd movement where a superb and hauntingly lovely theme is given over to the viola. After this movement, he said with his characteristic rapt look88 drawing breath, shutting his eyes and gathering his brows, and drawing down his chin with mouth closed, *ust as if he were savouring something e,"uisite, %7ow strange it is that musicians at that time were so much concerned with the %cloven hoof%. These comments took my breath away: ! remained tongue8tied, and have cursed myself ever since for not "uestioning him about what he meant.4 /(I0 $erhaps two things are noteworthy here. !t is ironic how Oing himself unwittingly refutes his own observation that 91usic, indeed was the chief topic of conversationHnever philosophy,: since the very comments that take his breath away88the first about Beethoven and the method of pro*ection, the second about Brahms and the Fcloven hoof88 have philosophical import for Wittgenstein as he evidently puts musical and philosophical ideas side by side. The second thing is the advent of the gramophone record, an obvious change in the technology of music, and the subse"uent listening to records in students Fdigs. <rury relates another episode which identifies Wittgenstein%s preferred symphony by Brahms. 4We listened this evening in <esmond #ee%s rooms to a performance on gramophone records of Brahms%s third symphony. Wittgenstein%s complete absorption in the music was most impressive. When it was finished he asked that we might hear it all over again. This, he said, was his favourite of the four symphonies of Brahms@.: And later on in the same conversation, Wittgenstein said that 91endelssohn%s iolin Poncerto is remarkable in being the last great concerto for the violin written. There is a passage in the second movement which is one of the

great moments in music.: /(J0 B. Wittgenstein and 91odern 1usic: As we have seen earlier, Wittgensteins negative attitude to 4modern music4 is evident in several entries of <avid $insent%s diaries. 91odern music: was something that the young Wittgenstein and $insent enthusiastically argued against at Pambridge. Legrettably, we are not given any indication of the actual content of these debates. Dne interesting "uestion is what could they have meant by 9modern music:2 The obvious candidates would seem to be the composers 3chTnberg, Berg and BartUk, on the Austro87ungarian side, and perhaps Berlio6, <ebussy, Lavel from Nrance, and possibly 3travinsky from Lussia. To be sure, these composers would be within the compass of Wittgensteins *udgment, but at the time the ground breaking atonal compositions of the Austro87ungarians were still nascent or at least looking for an audience. As to the Nrench composers, Wittgenstein never mentions them. 3o who were the composers Wittgenstein and $insent had in mind when they argued vigorously against 9modern music:2 There are reasons to think that Lichard 3trauss and Mustav 1ahler may have represented 9modern music:for them. The aversion to 3trauss seems palpable in the following entry in $insents diary: 9The second half of the concert began with two selections from 3trausss Salo(e: Wittgenstein refused to go in for them, and stayed outside till the Beethoven, which followed. 7e went out after that and went back to #ordswood by himself.: After hearing the 3trauss, $insent comments: 9The Salo(e was rot, but very clever and amusing in conse"uence.: /?)0 We can speculate then that Wittgenstein gave the 3trauss a miss because of his aversion to 9modern music,: but he missed the Bach, which ended the concert, because he reached the limits of his ability to listen further. There is reason to think that the early Wittgenstein may have been influenced by the pro8Brahms8anti8 Wagner school of iennese criticism which opposed Mustav 1ahler and others for radically departing from the musical tradition of 1o6art and Brahms. The vehemence of such attacks indicate that 1ahler and others were to be blamed for the threat to, and the impending collapse of, that tradition. What is more, the criti"ue was e,tended to the music of Austrian composers influenced by Lichard Wagner, such as Anton Bruckner, Arnold 3chTnberg and Alban Berg. The fact that the young Wittgenstein was influenced by this school of iennese musical criticism would partly e,plain his rather combative attitude towards 9modern music: as represented by the figures ! mentioned. !ndeed, $insent records in his diary that on 5ovember () th, &J&' Wittgenstein argued again with #indley against 9modern music: and we encounter a surprising moral censure: 9#indley used not to like modern stuff, but he has been corruptedG: /?&0 The tone of moral censure e,pressed in Fcorrupted, not to speak of the e,clamation mark, is noteworthy for its deep reverence for, and an an,iety about, the musical tradition. #ater remarks, made in the early &J()s during the crucial transition period from the early philosophy of the Tractatus to the later philosophy of the Investigations give an e,plicitly negative assessment of 1ahlers music, but offer a different perspective. 1ahler and modern composers are no longer blamed for the cracks in, or better still, the breakdown of, the tradition. Lather the later Wittgenstein adopts a 3penglerian attitude towards the culture: 9! shouldnt be surprised,: remarks Wittgenstein, 9if the music of the future were in unison. Dr is that only because ! cannot clearly imagine several voices2 Anyway ! cant imagine that the old large forms =string "uartet, symphony, oratorio etc.> will be able to play any role at all. !f something comes it will have to beH! thinkHsimple, transparent. !n a certain sense, naked. Dr will that hold only for a certain race, only for one kind of music =2>: /?'0 That 1ahler was a target of the early arguments against 9modern music: receives further te,tual support from Wittgensteins diaries where the entries on 1ahler indicate that Wittgenstein thought 1ahlers work to be 9bad: and even 9worthless:, a *udgment that flies in the face of our contemporary assessments. 9A picture of a complete apple tree, however accurate, in a certain sense resembles it infinitely less than does the smallest daisy. And in this sense a symphony by Bruckner is infinitely more closely related to a symphony from the heroic period than is one by 1ahler. !f the latter is a work of art it is one of a totally different sort. =But this observation itself is actually 3penglerian.>: /?(0 5otice that the complaint about 1ahler is that he is abstract, a paper flower, lacks wild life, he is too tamed and civili6ed+ 1ahler relates to Beethoven as a picture of a tiger to a tiger. !s this a comment about 1ahler as

such or a comment about 1ahler as a figure for what the culture of the west has become2 ! find it difficult to say which, partly because Wittgenstein can and does compare Anton Bruckner%s symphonies to Beethoven%s, and then 1ahlers to Bruckners. 7e seems to be appreciative of Bruckner and depreciative of 1ahler despite the fact that both are influenced by Wagner and the age difference between them is only a few decades. What 1ahler allegedly lacks is primordial forceHhis music does not have what all great works of art possess: 9a wild animal tamed.: /??0 This sort of remark is occasionally applied to 1endelssohn as well, and it has an unpleasant resonance with the anti83emitism of Wagners essay on )udais( in Music. /?A0 Wittgenstein, as -oachim 3chulte observed, 9tended@ to attribute weak or feminine =though not necessarily negative> characteristics to what he considered -ewish.: /?B0 3ince Wittgenstein is identifying with these great musical figures, comparing and contrasting himself to them, there are important implications here regarding the issue of how Wittgenstein%s philosophy stands to the tradition. Dne such implication is that the later philosophy is so radically different from the great western philosophical tradition that it can not be compared to it, and he is wondering whether the word 4philosophy4 actually applies to it without "ualification. 7e finally decides that it does, but only if it is made clear that it is a successor to what used to be called philosophy. What we have here is a very different attitude to the pro8Brahms8anti8Wagner critics and their descendants. Qnlike them, Wittgenstein does not think that it is 1ahlers fault that the genres or the forms of the musical tradition broke down, losing their vitality and power. 5or does Wittgenstein think88to make a parallel point88 that the end of traditionalCessentialist philosophical theori6ing is his own fault. The blame8game is inappropriate. Along with this comes a different way of listening to and appreciating composers. This is a way that values each composer for his particularity, and the mature Wittgenstein, unlike ;duard 7anslick the leader of the pro8Brahms8anti8Wagner school of criticism, does not use one composer as a stick to club another. 7anslick used Brahms and 1endelssohn as sticks to club Wagner. When Wittgenstein considered 9modern music,: he admitted that the language and vocabulary of 9modern music: was oreign to hi( and he said that he cannot understand it. E. 1usic and $hilosophy: A <ialogue !n his lectures on aesthetics Wittgenstein remarks 9/t0o describe appreciation you have to describe a whole culture.4 This remark encourages the retrieval of tradition and conte,t in understanding his reflections on music and its appreciation. !n light of this, ! now situate Wittgenstein%s attitude to and remarks on music in the larger conte,t of Austrian8Merman musical aesthetics and criticism. 3ketching this background may help us with the task of providing a perspective on Wittgenstein%s practice of listening to music. $erhaps the first thing to put right up front is the intimate relationship between music and philosophy in Austrian8Merman culture. As 3teven Burns observed: 9/Q0nlike much Anglo8American philosophy, nineteenth century Merman philosophy is in constant dialogue with literature, theology, and politics, and that a full understanding of this period cannot be reali6ed by attending to the officially philosophical works alone.: /?E0 This is especially true of the dialogue between philosophy and music, in which Wagner engages 7egel and 3chopenhauer, and in turn 5iet6sche engages Wagner. !n this dialogue music offers material for philosophical reflection. Miven this historical and cultural conte,t, we can revisit -ohn Oings comment that the chief topic of conversation was about music and never philosophy. Nor one thing, such an e,clusive dis*unction between music and philosophy may have come naturally to Oing, but was foreign to Wittgenstein. !ronically, as we have noted already, Oing is curiously mistaken about the character of the conversationH9always about music, never about philosophy:Hsince the very comments that he finds fascinating and render him tongue8 tied88 are about both philosophy and music. Wittgensteins comments made about pro*ection in connection with Beethovens Suartet in P sharp, opus &(&, ac"uire philosophical significance once put side by side with the fact that Wittgenstein was at the time was working on problems concerning meaning and truth, about how we relate propositions to the world through what he calls 9the method of pro*ection.: !t is also noteworthy that the young Wittgenstein spoke of a musical event, attended with his friend and mentor Bertrand Lussell, as 9a turning point in my life.: That this event was Beethovens 5inth symphony, celebrating human fraternity, is hardly accidental. Oeeping in mind the choral component and how the human voice is put to symphonic purpose, it is worth mentioning here that the highest compliment in Wittgensteins repertoire was: 9Vou are a real human being.: And in a &J(E notebook entry we read the cri de coeur: 9#et us be human.: /?I0

When we add to this te,tual cluster the fact that 3chumann, a composer, is Wittgensteins cultural ideal, then we begin to see that Wittgenstein saw himself as a participant in the dialogue between music and philosophy that 3teven Burns brought to our attention. !n this dialogue *ustice, meaning, truth, and community, the good and the right, were themes for music as well as for philosophy. And we forget at our peril that a central and influential participant in that conversation was Wittgensteins fellow iennese elder, ;duard 7anslick. I. Wittgensteins ienna Allan -anik%s and 3teven Toulmin%s seminal retrieval of the cultural conte,t of Wittgenstein%s philosophy in &ittgenstein*s Vienna, as well as -anik%s recent book &ittgenstein+s Vienna ,evisited, both identify 7anslick as a dominant figure in musical aesthetics not only in that he was the most influential music critic, but the father of modern music criticism. 3ince neither of these books take up the topic of Wittgenstein on music, or for that matter, relate 7anslick to Wittgenstein, ! e,tend their retrieval a little. Through his book -n the Musicall$ Beauti ul. % Contribution to"ards the %esthetics o Music /?J0 , which underwent &A editions between &IA? and &J'', and through his role as music critic from &IA? to &J)? for the Neue /reie Presse88 the 0lobe and Mail of iennese newspapers88 7anslick was a dominant figure in iennese and Merman musical culture. Nor nearly half a century he was the most confident of musical censors88a bitter opponent of Wagner and #is6t, and Brahms%s warmest supporter. =There is no doubt that Wagner had him in mind as he drew the figure of Beckmesser in The Mastersingers88in fact in two early sketches of the libretto the name %7ans #ich% appears instead of %Beckmesser%>. /A)0 5o iennese interested in music could avoid reading 7anslick, even if they wanted to. Nor 7anslick, the history of music began with Bach and 7andel, but in his heart it began with 1o6art and reached its summit in Beethoven, 3chumann, and Brahms. Nor Wittgenstein too music seems to mean music spanning form Bach through 1endelssohn to 3chumann and Brahms. 41usic4, he said to his friend <rury, 4came to a full stop with Brahms+ and even in Brahms ! can begin to hear the sound of machinery.4 /A&0 Wittgenstein and 7anslick then share a conception of music and inhabit a musical tradition that was home for both. This tradition was a 9given: in which their life in music was grounded, and it provides the backdrop for their reactions and assessments. The early Wittgenstein of the Tractatus privileged this tradition, but in the later Wittgenstein this tradition became one among many others88with the proviso that he himself had his roots in this cultural tradition and identified with it. There are limits to our ability to appreciate and understand. Appreciation and understanding may be difficult, if not impossible, outside one%s musical tradition, unless one ac"uires a participant%s understanding of that other tradition. There is a &J&? diary entry about linguistic and moral meaning that foreshadows this perspective: 9!f we hear a Phinese we tend to take his speech as inarticulate gurgling. 3omeone who understands Phinese will recogni6e language in what he hears. 3imilarly ! often cannot recogni6e the human being in someone etc.: /A'0 This remark is e"ually applicable to music and throws some light on the young Wittgensteins and $insents attitude to what they called 9modern music.: We get a lively sense of this sort of situation in the case of 7anslicks incapacity to appreciate #is6ts and Wagners 9music of the future:Heven though their compositions were innovative successors to the musical tradition 7anslick privileged. Their compositions were perhaps heard by 7anslick as a kind of musical gurgling, when compared to Bach, 1o6art, 1endelssohn and Brahms. This inability to discern musical meaning in what one hears is partly e,plained by a narrow, dogmatic view of music. A salient feature of 7anslicks musical criticism was his attack on #is6t%s and Wagners innovations as well as on program music in general. The basis for this criticism was that #is6t and Wagner undermined the 4autonomous significance of music, suggesting to the listener that it is nothing but a means for the generation of musical configurations.4 What is more, Wagner%s 4doctrine of endless melody is formlessness raised to the level of principle.4 !f we take this at face value, 7anslick was unable to hear any worthwhile connections between Wagners and #is6ts innovations on the one hand and the traditional forms on the other hand. !f we look at Wittgensteins and $insents attitude this way, we can see more than a mere preference in their attacks on 9modern music.: !n Lectures on %esthetics Wittgenstein gives as an e,ample of a very high culture, namely Merman music of the &Ith and &Jth centuries: 4Vou get a picture of what you may call a very high culture, e.g., Merman music in the last century and the century before, and what happens when this deteriorates@The words we call e,pressions of aesthetic *udgement play a very complicated role, but a very definite role, in what we call a culture of a period. To describe their use or to describe what you mean by a cultured taste you have to describe a culture. What belongs to a language game is a whole culture. !n describing musical taste you have

to describe whether children give concerts, whether women do or whether men only give them, etc, etc. =Whether children are taught by adults who go to concerts, that the schools are like they are, etc.> !n aristocratic circles in ienna people had such and such a taste, then it came into bourgeois circles and women *oined choirs, etc. This is an e,ample of a tradition in music.4 /A(0 When arts and crafts are alive and well, the rules are preeminent and e,traordinary care is lavished on certain details+ when thousands of people are interested in the minutest details. !n a period of deterioration everything is copied and nothing is thought about. A picture of what happens when a dining room table is chosen more or less at random, when no one knows where it came from or thought about its design.: These features of attention to detail, to the particular case, to origins and form, are aspects of Wittgenstein%s practice of listening and thinking about music, as indeed they were aspects of 7anslicks practice of reviewing and of his musical aesthetics. Apparently 7anslick never reviewed a performance unless he played the music himself beforehand. 3imilarly, Wittgenstein was attentive to details, and took composers and their music one by one88always with a central focus on one composer and his music. 3o there was a period when he would listen to nothing but Bach or 7aydn+ at another Beethoven or 3chubert or 3chumann. Whom he listened to depended on what preoccupied him at the time. !t was characteristic of him to e,plore through the particular concrete case. Lecall that he is reported to have gone to Wagner%s The Mastersingers more than a do6en times in a one year period. $erhaps Wittgenstein wanted to find out why Brahms, who had an aversion to all theatricality, carried around with him the score of the Mastersingers for weeksHwhat Brahms could have seen in WagnerHto 7anslicks disapproval. What does appreciation consist in for Wittgenstein2 !t is not shown by the inter*ections a person uses, such as %Ah%, %beautiful%, %marvelous%, %charming%88*ust as we do not call a dog musical if it wags its tail when music is played. Lather, appreciation is shown by the way a person hums a tune, or his knowing when the bass comes in+ or by certain "uestions such as %<oes this harmoni6e2 5o. The bass is not "uite loud enough. 7ere ! *ust want something different@. This is what ! call appreciation. /A?0 Again appreciation could take different forms: it could be narrow or broad, deep or shallow. J. 1usic, #anguage and the World 1y hope is that these efforts at stage setting enable us to imagine how Wittgenstein may have seen himself as participating in the dialogue between music and philosophy. What then were some specific themes of this dialogue that Wittgenstein took up, put his own stamp on, and manifested affinities to, as well as differences from 7anslick2 Dne central theme in the conversation between music and philosophy had to do with "uestions of meaning. This renders intelligible Wittgensteins fre"uent *u,tapositions of remarks about the meaning of a theme in music and the meaning of a proposition or a sentence. A related "uestion has to do with whether music is a language, perhaps a universal language. Dther "uestions probed the relation between music and emotion, music and nature. 7ere are some reminders of what 7anslick had to say about these matters. 7is aim was to provide a new foundation for a 9scientific: musical aesthetics by arguing for the autonomy of music. !n the course of doing so, he critici6ed Lomanticist views that music is a language of feeling and put forth and defended a formalist view of music as sound in motion. 7anslick resists reductionist tendencies in the philosophy of music, tendencies crystalli6ed in theories that seek to locate musical meaning in matters e,ternal to music. Thus he combats pictures of music as representation, whether such representation is thought of as mimetic of nature outside us, or of emotions and feelings inside us. These theories e,hibited reductionist tendencies in the philosophy of music and are analogous to theories in the philosophy of language to the effect that linguistic meaning can be e,haustively identified with naming or reference. Wittgenstein may be regarded as 7anslicks ready ally in such criti"ues, as we know from his treatment of such topics in the Blue 1 Bro"n Boo2s and the Philosophical Investigations. 7owever, there are differences too between our two iennese. While there is agreement with 7anslick in that relegating music to the e,clusive domain of the inner88to our emotional life88 or to some e,ternal domainHis wrong8headed, he would add that a pure formalist perspective like 7anslicks leaves music, as well as language, alone and isolated. Nor Wittgenstein, music has a connection with ideas and the language games associated with the forms of life that reverberate in music. Ponsider: 9<oesnt the theme point to anything beyond itself2 Dh yesG But that means: the impression it makes on me is connected with things in its surroundings8 e.g. with the e,istence of the Merman language K its intonation, but that means with the whole field of our language games. !f ! say, e.g.: its as though a conclusion were being drawn, or, as if here something were being confirmed, or,as this were a reply to what came earlier, 8 then the way ! understand it

clearly presupposes familiarity with conclusions, confirmations, replies,etc. A theme, no less than a face, wears an e,pression.: /AA0 An unmusical philosopher then, and this includes, as 1ichael Tanner observed, most philosophers in the tradition, becomes an ob*ect of suspicion for philosophical reasons, since they are not in tune with, or suppress in themselves the resonance of, the forms of life and culture. This is a variation on 3chopenhauers idea that music is the deepest of the arts because it is iconic of the will: it does not represent, but it reverberates with, life. =!n this connection we need to recall that Wittgenstein lists 3chopenhauer as one of the ten thinkers who provided him with 9a line of thinking.:> An unmusical philosopher is deficient in an important re"uirement for engaging in philosophical activity: 9What has to be accepted, the given, isHso one could sayH or(s o li e.: /AB0 There are other important contrasts between Wittgenstein and 7anslick. Nor e,ample, 7anslick claims that music has 4autonomous significance,4 and wants 4urgently to point to the uni"ue and imperishable in music, i.e., musical beauty, and to how our great masters embodied it, and also to how genuine musical innovators will be cherished for all time.4 /AE0 Wittgenstein re*ects 7anslicks view that the idea of the beautiful is foundational for aesthetics, and argues that it has caused a lot of mischief by encouraging essentialism in reflection on music. Nor e,ample, 7anslick lumps all good music together under the rubric of the 9musically beautiful.: !n opposition to this, Wittgenstein contends that the idea of the beautiful plays little if any role in musical appreciation or discernment. A large part of 7anslick%s book is a polemic against the 4music of the future4 as embodied in Nran6 #is6t%s program symphonies and Lichard Wagner%s Tristan and Isolde and The ,ing o the Nibelungen. !n his an,iousness to protect music%s integrity against what he sees as attempts to reduce it to 4nothing but a means for the generation of musical configurations,4 7anslick goes to the other e,treme of isolating music from the other arts, such as literature, in particular poetry, and painting. 7e speaks as if music has nothing to do with ideas, thought, argument, attitudes and the human. !t is important to notice here the later Wittgensteins anti8essentialism about the nature of all music as language. There is a respect for differences in music, a 9listen and appreciate: approach. The fact that in the case of some music a similarity to language is remarkable shows that this feature cannot simply be a definitional matter. And the actual playing, the e,ecution or interpretation is also important. Ponsider what Wittgenstein said about the Austrian composer and organist -oseph #abor: 9Think about how it was said of #abors playing F7e is spea2ing. 7ow curiousG What was it about his playing that was so reminiscent of speaking2 And how remarkable that this similarity with speaking is not something we find incidental, but an important K big matterGHWe should like to call music, K certainly some music, a language+ and no doubt this does apply to some music88K to some no doubt not. =5ot that this need involve a *udgment of valueG>

/AI0
These and similar remarks seem to steer a middle way between two sorts of essentialists about music88those who want to reduce it to language, or to poetry or literature on the one hand, and those who say that music has nothing to do with language on the other. To relate them somewhat crudely to composition: one e,treme is to think that we compose from word to note =Wagner>+ the other e,treme is to think that we compose from note to word =7anslick>. Wittgenstein re*ects in e"ual measure both theories as e,treme and unwarranted generali6ations about compositional practices. &). Walk the Talk: A Tension in Wittgenstein2 At this point it might be said that Wittgenstein%s hostile attitude to modern music88his apparent complaints that he cannot understand it and that it is alien to him88sit uneasily with his anti8essentialism and with the idea of creative innovation in a tradition. Pould it be that Wittgenstein, in critici6ing 9modern music: in general and Mustav 1ahler in particular, is making the same sort of mistake that he diagnosed in others when he critici6ed their essentialism2 An inability to appreciate and an undue pessimism about the state of musical culture may be the epiphenomena of a perspective that if a thing is called by a name, in this case music, it must have something in common with all the other things called by that name. #isteners and critics, hearing a new work, search for something and when they don%t find it, conclude that what they are listening to is not music or bad music. Wittgenstein himself offers a different point of view in Philosophical Investigations that opposes such $latonism about language or for that matter about music: 4! am saying that these phenomena have no one thing in common which make us use the same word for all but that they are related to one another in many

different ways@! can think of no better e,pression to characteri6e these similarities than %family resemblances%.4 /AJ0 7ere we are reminded that in a family one member will have brown hair, like one brother or sister, blue eyes like another, and be left handed like yet another. A series of relationships connects each member of the family to all the others without there being any one thing which all the members of the family share. !f upon e,posure to a new musical work, we adopted a family resemblance perspective and searched for overlapping threads of similarities and interesting differences too, rather than for a common element shared by all music, we would be in a better position to understand and appreciate. The ob*ection against Wittgenstein then is that there is a tension in his profession and practiceHan accusation of philosophical hypocrisy of sorts. To borrow a phrase from the vocabulary of Lap 1usic, Wittgenstein talked the talk but did not walk the walk. 7ad he walked his talk, he would have been more aware of the continuities in 1ahlers music with the musical tradition and its striking creative innovations. Dne way this tension can be dissolved is to read Wittgenstein as yesterdays man: as acknowledging that he was left behind in the musical *ourney of the west, that he was a man of another cultural era. 3o was his brother $aul, yet $aul, unlike #udwig, did e,hibit a measure of sympathy for and the willingness to understand new music. #et us visit then the brothers Wittgenstein, drawing real family resemblances and differences, and see how these offer us resources for dissolving the tension noticed above. &&. The Two Wittgensteins: <id $aul Met Dn and Was #udwig #eft Behind2 Ponsider $aul Wittgenstein%s encounter with 1aurice Lavel and 3ergei $rokofiev, two composers, among half a do6en or so, whom he commissioned to compose piano concertos for the left hand. $rokofiev as well as Lavel knew that $aul admired 1o6art and Brahms above all. 7ere is what $rokofiev wrote to $aul Wittgenstein when sending his Poncerto 5o. ? in B8flat for the #eft 7and. /B)0 4Vou are a musician of the &Jth century, ! am of the ') th. <on%t *udge the piano part too hastily+ if certain moments seem to be indigestible at first, don%t press yourself to pronounce *udgement, but wait a while.4 $aul never played the piece and e,plained this in a way that is also instructive about #udwig%s attitude: 4;ven a concerto $rokofiev has written for me ! have not played because the inner logic of the work is not clear to me, and of course ! can%t play it until it is.4 We might analogously say then that both $aul and #udwig appreciated the music of &Ith and &Jth century, since the inner logic of later music was opa"ue to them and they left modern music alone. Dn this view, both $aul and #udwig were left behind, because of being stuck in the past. /B&0 This approach does not do *ustice to $aul Wittgenstein%s struggles and concert career. The episode with Lavel may suggest another way of dissolving the tension. When Lavel came to ienna to play the Poncerto, $aul%s reactions were rather negative: 47e =Lavel> was not an outstanding pianist, and ! wasn%t overwhelmed by the composition. !t always takes me a while to grow into a difficult work. ! suppose Lavel was disappointed, and ! was sorry, but ! had never learned to pretend. Dnly much later, after !%d studied the concerto for months, did ! become fascinated by it and reali6e what a great work it was.4 By &J(( they seemed to have patched up their differences enough to allow $aul to play it in $aris with Lavel conducting. 3o even though the relationship had elements of tension, it eventually resulted in successful performances. There is a Panadian resonance here since the 5orth American debut of Lavels Concerto or the Le t 3and was performed by $aul in 1ontrWal in &J(?. #udwig never learned to pretend either, and does not appear to have put in the work re"uired to be in a position to appreciate later developments in music. Qnderstandably then, #is6t, Lavel, 3aint83aens, Berlio6, <ebussy, 3ibelius simply do not figure in his thoughts. These were the limits of his musical understanding. !t seems then that #udwig was left behind in the *ourney of the creative musical culture of the west because he was unable, unwilling or indifferent to making the re"uired effort to continue, while $aul struggled and partly succeeded in doing so. What is ironic about this is that the musical *ourney of what might be called critical modernism is in many ways parallel to #udwig Wittgenstein%s own deeply creative efforts in philosophy. $aul%s loss of the right hand presented a challenge to the meaning of his life as concert pianist. #udwig is on record saying that he had an aversion to the idea of his brother continuing his career as a concert pianist, as being perceived as 4a freak4. 5evertheless he identified with his brother as we can infer from his saying to friends that he knew that he himself was 9a freak.: What is more, he often thought of what sort of philosophy would enable his brother to cope with and respond to such a loss88a loss that is analogous to incapacitating mental illness in a philosopher. !t seems to me that $aul had done the right thing for himself in performing,

teaching and commissioning works from modern composers, eventually re8establishing himself as a successful concert pianist on the circuit. 7e emigrated to 5ew Vork, married one of his students, had children, gave a hard time to the 5a6is in negotiating a financial deal for the racial reclassification of his sisters in ienna, whose very e,istence was threatened by the local authorities. There is another way to dissolve the tension mentioned above, and ! prefer it to the others alluded to above, since it is in better alignment with Wittgensteins respect for difference in his later philosophical perspective, and because it does greater *ustice to his integrity. There is a clue provided in Wittgenstein%s reflections on his cultural ideal for dissolving the tension: 4 ! often wonder whether my cultural ideal is a new one, i.e., contemporary, or whether it comes from the time of 3chumann. At least it strikes me as a continuation of that ideal, though not the continuation that actually followed it then. That is to say, the second half of the &J th century has been left out. This, ! ought to say, has happened "uite instinctively K was not a result of reflection.4 /B'0 There are two things that strike me as interesting and important about this "uote. Nirst, it opens up the possibility of diverse ways of meaning, valuing and living outside the dominant culture. This suggests that we are not compelled to choose between the *udgmental, modernistic, eitherCor picture of being a member of the musical avant garde and being yesterdays man, left behind as the culture moves on. There are many worlds of music and one may inhabit one and not another, or one or more. Another striking thing about the "uote is Wittgensteins acknowledgment that his cultural ideal is embodied in a composerG ! conclude on a note about possible affinities between the therapeutic function of music and Wittgensteins conception of philosophy as therapy. #udwig wrote that the philosopher is looking for the 4saving word4 to cut a clear path through our conceptual problems and deep dis"uietudes. Pan a composer of music play a similar sort of role with respect to deep problems or tensions in our lives2 This brings up the "uestion of the uses of music. !t seems that music helped #udwig to cope with isolation and the breaking points in his life. !n <avid $insent%s diaries we come across moments which suggest not only that music was a basis for friendship and social interaction, but that it was also a way of coping with such e,istential problems as anguish, fear of, and inclination to, suicide. There is a striking resemblance here between this function of music and Wittgenstein%s goals in his philosophical activity: the achievement of peace of mind, doing *ustice, putting the tensions right up front and dissolving them. 9!n this world =mine>@hardness K conflict do not become something splendid but a defect. Ponflict is dissipated in much the same way as is tension in a mechanism that you melt@!n this solution tensions no longer e,ist.: /B(0 7ere we have the seeds for both a therapeutic conception of philosophy and of music. To end, ! return to where ! began, namely, to -an .wickys Musicians: 9;ven the gravel dust stuttering at their feet is coherent.: Leferences: Burns, 3teven. 9A Nlock of 5ightingales: Wagners 1usic and Merman $hilosophy:, 3pecial issue on -ustice and Aesthetics, %4, olume E, '))'. ;ngelmann, $aul. Letters ro( Lud"ig &ittgenstein5 &ith a Me(oir, D,ford: Basil Blackwell, &JBE. Nann, O. T., editor, Lud"ig &ittgenstein. The Man and 3is Philosoph$, 7arvester, &JBE. 7anslick, ;duard. -n the Musicall$ Beauti ul. % Contribution to"ards the ,evision o the %esthetics o Music5 Translated and ;dited by Meoffrey $ay6ant, !ndianapolis, !ndiana: 7ackett $ublishing Pompany, &JIB. -anik, Allan, and Toulmin, 3teven, &ittgenstein*s Vienna, 5ew Vork: 3imon and 3chuster, &JE(. -anik, Allan. &ittgenstein*s Vienna ,evisited5 Ne" Bruns"ic25 Ne" )erse$. Transaction Publishers5 67789 Lurie5 'uval9 :Wittgenstein on Pulture and Pivili6ation5; In<uir$5 &JIJ, (EA8(JE. 1cMuinness, Brian. &ittgenstein. % Li e5 'oung Lud"ig5 Ber2ele$5 Palifornia: The Qniversity of Palifornia $ress, &JII. 1onk, Lay. Lud"ig &ittgenstein. The =ut$ o 0enius, #ondon: -onathan Pape, &JJ). 1oore, M.;. 9Wittgensteins #ectures in &J()8&J((,: in his Philosophical Papers5 5ew Vork: 7umanities $ress, &JAJ. $insent, <avid. % Portrait o &ittgenstein as a 'oung Man5 /ro( the =iar$ o =avid 3u(e Pinsent 8>868>8?, edited by M. 7. von Wright, D,ford: Basil Blackwell, &JJ).

Lhees, Lush. Lud"ig &ittgenstein. Personal ,ecollections5 D,ford: Basil Blackwell, &JI&. 3choles, $ercy A. The -# ord Co(panion to Music, Tenth ;dition, ;dited by -ohn Dwen Ward, &JE). 3chopenhauer, Arthur, The &orld as &ill and ,epresentation, olumes ! and !!, translated by ;. N. $ayne, 5ew Vork: <over Books, &JBB. 3chulte, -oachim. &ittgenstein. %n Introduction, Albany, 5ew Vork: 3tate Qniversity of 5ew Vork $ress, &JJ'. 3hiner, Loger. 9Dn Miving Works of Art a Nace:, Philosoph$5 &JEI, ()?8('?. 36abados, BWla. 9Autobiography After Wittgenstein:, in The )ournal o %esthetics and %rt Criticis(5 &JJ', &8&'. 36abados, BWla. 9Autobiography and $hilosophy: ariations on a Theme of Wittgenstein,: Metaphilosoph$, &JJA, B(8I). Tanner, 1ichael. Schopenhauer, #ondon: $hoeni,, &JII. Wagner, Lichard. )udais( in Music, translated with e,planatory notes and an introduction by ;dwin ;vans, #ondon: William Leeves, &J&). Wittgenstein, #udwig. Tractatus-Logico-Philosophicus, translated by <.N. $ears and B.N. 1cMuinness with the !ntroduction by Bertrand Lussell, #ondon: Loutledge K Oegan $aul, &JB&. Wittgenstein, #udwig, Philosophical Investigations, translated by M. ;. 1. Anscombe, revised ;nglish translation, third edition, D,ford: Basil Blackwell, '))&. Wittgenstein, #udwig. Lectures and Conversations on %esthetics5 Ps$cholog$ and ,eligious Belie 5 edited by Pyril Barrett, Berkeley and #os Angeles: Qniversity of Palifornia $ress, &JBE. Wittgenstein, #udwig. Culture and Value5 translated by $eter Winch5 Levised ;dition, D,ford: Basil Blackwell, &JI)C&JJI. All "uotations are from the &JJI edition. Wittgenstein, #udwig. Public and Private -ccasions, edited by -ames c. Olagge and Alfred 5ordmann, #anham, 1aryland: Lowman and #ittlefield, '))(. Worth, 3arah. 9Wittgensteins 1usical Qnderstanding,: British )ournal o %esthetics5 &JJE, &AI8&BE. .wicky, -an. Songs /or ,elin<uishing The 4arth, #ondon, Dntario: Brick Books, &JJI.

/&0 .wicky, &B. /'0 Tanner, ?(. /(0 Lhees, J?. /?0 Nor a more comprehensive treatment of this topic, see the listed articles by BWla 36abados.
/A0 Tractatus /B0 !bid, B.?'&. /E0 Philosophical Investigations, $ar.&)J /I0 Lud"ig &ittgenstein and the Vienna Circle, &&B.

/J0 3ee the listed article by 3arah ;. Worth, for e,ample. /&)0 Nann, BE8BI.
/&&0 Culture and Value, ('.

/&'0 !bid., 'E. /&(0 1onk. /&?0 1cMuinness. This biography of the young Wittgenstein is especially informative about his love of

music, iennese background and intellectual nursery training.

/&A0 Lhees, A?. /&B0 1cMuinness, op. cit., &J.

/&E0 !bid, AA.

/&I0 41y Brother #udwig4 in Lhees, J. /&J0 ;ngelmann, IJ8J). /')0 $insent. /'&0 !bid, A. /''0 !bid, B&. /'(0 !bid, E(. /'?0 !bid,EI. /'A0 !bid, (?. /'B0 !bid, (B. /'E0 !bid,(J. /'I0 !bid,?(. /'J0 !bid,A(. /()0 !bid,?', ?B, AA. /(&0 !bid, ?'. /('0 !bid, ?B. /((0 !bid, &)I. /(?0 !bid, &)J. /(A0 3ee 1onk, especially the chapter titled 9The 3econd Poming,: 'AA8'I). /(B0 Lhees, &(). /(E0 Lhees, I?. /(I0 !bid, IA. /(J0 Lhees, &'B. /?)0 $insent, (?. /?&0 !bid, ?'.
/?'0 Public and Private -ccasions, ?J. /?(0 Culture and Value, &E, &J(&.

/??0 !bid, ?(. /?A0 Wagner. /?B0 3chulte,&E. /?E0 Burns.

/?I0 Culture and Value, (B. /?J0 7anslick. /A)0 3choles, ?(I.

/A&0 Lhees, op. cit, &'E.

/A'0 Culture and Value, (. /A(0 Lectures and Conversations on %esthetics999, J.

/A?0 !bid, B8E.

/AA0 Culture and Value, AJ. /AB0 Philosophical Investigations, p. &J'.

/AE0 7anslick, ,,,iii8,,,iv.

/AI0 Culture and Value, E&. /AJ0 Philosophical Investigations,

/B)0 ! am grateful to 3teven Burns for bringing to my attention the connection between $aul Wittgenstein
and such modern composers as 3ergei $rokofiev and 1aurice Lavel.

/B&0 Nor an informed and sensitive instance of this general approach to Wittgensteins remarks on culture,
and his adaptation of 3pengler, see the listed article by Vuval #urie. /B'0 Culture and Value, (.

/B(0 !bid, &'.