The Romantic Fragment and the Monumental: The Rise and Fall of the Sublime in Western Music

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ABSTRACT To a modern observer of Western culture, Romanticism might appear conflicted about size. On the one hand, the likes of Chopin and Scriabin best expressed themselves through small-scale compositions, while, on the other, there were those who, like Wagner and Mahler, produced colossal works. The aim of the present article is to explore the phenomenon of miniaturization in Western culture and to examine how miniature works (e.g., literary fragments, preludes) competed with their much larger counterparts. My central claims are threefold: (1) that miniaturization, contrary to common belief, is not a contemporary phenomenon; (2) that the attitude of Romanticism to size was not paradoxical but rather an attempt to harmonize the fragment and the colossal; and (3) that in contemporary culture, the fragment and the colossal are no longer in harmony with each other.