Abstract

Daniel Barenboim, conductor of the Arab/Israeli West-Eastern Divan Orchestra, claims that “everywhere in the world... [Beethoven’s Ninth Symphony] speaks to all people.” But just how universal is Beethoven? Does his music exceed cultural boundaries or is Barenboim’s idea of a “utopian republic,” built, in part, upon Beethoven’s music, just “another Euro-American vision?” In his paper, Mark Whale explores two ways of understanding Beethoven’s music in line with two versions of the “idea of culture” proposed by literary theorist, Terry Eagleton. First, he suggests that our experience of music has to do with its association with the specific cultural “loyalties and allegiances” built into our lives. Second, he argues that there is a mode of musical encounter, one which crosses cultural boundaries, in which we do not simply experience music but actively choose to care about, and to attend to, what we experience. In choosing to attend carefully to Beethoven’s music we discover that it invites and deepens our attention, not only to it, but also to ourselves.