In 1826, the violinist Karl Holz declared that op. 130 was his favourite work in Beethoven’s set of Galitzin quartets. Beethoven rejected the premises of this judgment: ‘Each in its own way! Art does not permit us to stand still. You will notice a new type of part writing, and there is no less imagination than ever before, thank God.’1 This remark is usually interpreted in terms of Beethoven’s quest for continual innovation. Yet we might also construe his remark as a reference to musical temporality. Music does not permit the listener to stand still: musical works inevitably unfold in time. Indeed, the imaginative shaping of musical time is a hallmark of Beethoven’s Galitzin quartets. In the Cavatina from op. 130, the section marked ‘beklemmt’ is cut short by a return, at first hesitant and then emphatic, to the first theme. The ‘beklemmt’ section thus showcases the ephemerality of sound. The urgency to return to the first theme, however, suggests a restless search for something stable and permanent. The dialectic between ephemerality and eternity in Beethoven’s music has long captivated scholars of musical time.2 In Bach’s Cycle, Mozart’s Arrow: An Essay on the Origins of Musical Modernity, Karol Berger examines this dialectic through a study of parenthetical interludes in Beethoven’s music.3 These interludes, though fleeting, seem to conjure up images of infinity and transcendence. Benedict Taylor opens The Melody of Time: Music and Temporality in the Romantic Era with some of the same repertory with which Berger concluded his study: Beethoven’s last three piano sonatas. Building on Berger’s account of Beethovenian mysticism, Taylor observes that Beethoven’s ‘idea of variation structure [ ... ] contains a certain inherent Platonism in

中文翻译：

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超越的比喻：十九世纪音乐中时间的表现和克服

1826 年，小提琴家 Karl Holz 宣布了该作品。130 是他在贝多芬的 Galitzin 四重奏中最喜欢的作品。贝多芬否定了这个判断的前提：“各有千秋！艺术不允许我们停滞不前。你会注意到一种新型的部分写作，而且想象力比以往任何时候都少，谢天谢地。'1 这句话通常被解释为贝多芬对不断创新的追求。然而，我们也可以将他的评论解释为对音乐时间性的引用。音乐不允许听者静止不动：音乐作品不可避免地随着时间展开。事实上，音乐时间的富有想象力的塑造是贝多芬的加利津四重奏的标志。在来自 op 的 Cavatina 中。130 节，标记为“beklemmt”的部分被缩短，首先是犹豫，然后是强调，回到第一个主题。因此，“beklemmt”部分展示了声音的短暂性。然而，回到第一个主题的紧迫性暗示着对稳定和永久的东西的不懈追求。贝多芬音乐中短暂与永恒之间的辩证法长期以来一直吸引着音乐时间的学者。2 在巴赫的循环，莫扎特的箭：音乐现代性起源的论文中，卡罗尔·伯格通过研究贝多芬音乐中的插曲插曲来检验这种辩证法。 3这些插曲虽然转瞬即逝，但似乎让人联想到无限和超越的形象。本尼迪克特·泰勒 (Benedict Taylor) 在《时间的旋律：浪漫时代的音乐与时间性》的开头使用了一些与伯杰结束研究相同的曲目：贝多芬的最后三首钢琴奏鸣曲。以伯杰对贝多芬神秘主义的描述为基础，