 In Bloch’s reconstruction, Western music develops through three stages, or “carpets” (Teppiche), a concept he borrows from Georg Lukács (1885–1971) (Bloch 1918, “The Problem of a Historical Philosophy of Music”). The first stage is represented by dance and chamber music, the second by the music of Bach and Mozart, and particularly by the fugue, while the third culminates in the symphonies of Beethoven and Bruckner. It is over the course of this development that music progressively realizes humanity’s awareness of itself (on Bloch’s philosophy of music, see Zabel 1990, Korstvedt 2010, and Vidal 2003 [2010]).