When the poet Ludwig Tieck sought to distinguish the styles and methods of instrumental music from vocal music in 1798, he set a precedent for championing the freedom and independence of instrumental music to express the inexpressible and sounded one of the principal themes of German early Romanticism. E. T. A. Hoffmann's review of Beethoven's Fifth Symphony is perhaps the most famous example of the enthusiasm for this newly heightened appreciation of the power of instrumental music. The consequences of this new perspective for vocal music were, however, less immediately exciting. Music for the voice was confirmed as being in subordination to language and related to everyday experience, for, according to Tieck, “it is, and always will be, elevated declamation and speech.” Romantic poets might still strive for the expression of the ineffable in their language, but their aspiring to the potential of instrumental music was essentially a yearning for what they could never claim in their own sphere. In his novella Musical Joys and Sorrows, Tieck's characters discussed whether an ideal singing voice might not bring poetic expression nearer to the ineffable. In the words of the fictional singing teacher Hortensio: