The sea, in its seemingly limitless expanse, symbolized the concept of eternity to a number of important artists of the early 19th century, including Coleridge, Friedrich, and Goethe, who struggled to come to terms with this difficult concept through revision of their initial thoughts and ideas. Goethe's poem Meerestille was set by both Beethoven and Schubert within weeks of one another, and Schubert's two settings, written in the space of only two days, demonstrate the young composer's increasing ability to grasp the existential notion of timelessness as he grappled with Goethe's text. Schubert's musical reading and subsequent re-reading of the poem show how his use of the tritone as a musical symbol of the infinite underwent significant refinement in his second setting.
- Copyright ©© 2004 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press Rights and Permissions website, at http://www.ucpress.edu/journals/rights.htm.