About the arts and ideas - on my novels and literature, music, and art
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Sunday, October 28, 2012
My post here offers my fuller, original thoughts at about twice the length of the edited version appearing in the newspaper:
A Healing Light Illuminates John Banville’s New Novel Ancient Light.
Alex Cleave has turned sixty-five, an age when the siren song of memory can call with particular urgency. It is a memory of adolescence that fills the character’s mind in this brilliant new novel by award-winning Irish writer John Banville. During the summer Alex was fifteen, his best friend’s mother – Mrs. Gray – seduced him.
The extremity of the subject is complicated in John Banville’s new novel by telling the story from Alex’s doubly unreliable point of view, reflecting both the adolescent’s unsteady initiation into sex and the aging man’s searching yet nostalgic memories of youth.
After young Alex’s first encounter with Mrs. Gray, “the April day that I stepped out into was, of course, transfigured, was all flush and shiver and skimming light, in contrast to the sluggishness of my sated state.” The singing lyricism of memory is shadowed here by irony (“of course”). The disturbing yet compelling beauty of the novel is that it balances luminous prose with a darkly realistic sense of life’s fragilities and fatalities.
In the novel, a series of deaths confront Alex Cleave, including the “decade-long grief” resulting from the tragic and mysterious suicide of his adult daughter, Cass. His grief floods his consciousness, just as it haunts his wife Lydia, yet Alex also manages partly in defense to immerse himself in memories of his adolescent tryst with Mrs. Gray.
Ancient Light – Banville’s latest work after The Infinities, the Booker Prize winning The Sea, and the dark Benjamin Black mysteries – contains many flashes of comedy. Alex Cleave is a stage actor toward the end of his career (he had a disastrous on-stage breakdown ten years before; that experience and the discovery of his daughter’s suicide are narrated in Banville’s earlier novel Eclipse from 2001). To his delight, he has been offered a film role, in a docudrama, playing opposite the beautiful young star Dawn Devonport, “grave and grey-eyed, sweetly sad, omnivorously erotic.”
The mature Alex Cleave is as capable of delight as of profound self-criticism and is the source of the novel’s probing, humane comedy. Compassionate and ironically apologetic, Alex is always as open to life as he is alert to death’s power.
The role he plays in his film is that of the aging and corrupt academic Axel Vander. Even as Dawn, the young star, is seduced by him, she exposes him as a fake, an “old monster” with a fascist past and a false identity. (Vander is the subject of Banville’s Shroud from 2003; he is reminiscent of the disgraced literary theorist, the late Paul de Man.)
Ancient Light is, in any case, an independent work. Its tragicomic power arises from the collision between its plots – the headlong rush of Alex’s often bawdy evocation of being seduced as an adolescent by an older woman versus the developing possibility that the aging Alex may attempt to seduce the young actress. To do so would create a dangerous off-screen echo of their on-screen plot, and such a scenario would also be an inverted repetition of what happened to Alex at fifteen.
Even, as it happens, an incestuous repetition: Alex’s memories of his late daughter continually impinge on his meetings with Dawn, and in one of the novel’s sinister parallels the actress attempts suicide, echoing the daughter Cass’s suicide. Feeling himself become more and more “a thing of fragments,” Alex finds the example of Vander’s rapaciousness almost “overtaking” him. Then, an even more sinister parallel involves the suggestion that Cass was driven to suicide ten years before by the monstrous Axel Vander, whom Alex Cleave plays in the film.
Late in the novel, Alex writes, “But what, you will be asking, what happened” between him and Dawn? In unexpected ways, Alex holds his own against the looming tragic possibilities of the plot; he manages to refuse the pressure to descend to the lowest level or to act out the most destructive roles.
If we were to subtract Alex’s probing, mordant, and humane voice from the novel, the multiple parallels in its plotting could resemble a rather ornate maze, and Banville’s lush prose can verge on the overwritten, that of a “chap who writes like Walter Pater in a delirium.” The words are Alex’s about the screenwriter of the film he is in – known as JB. Part of the comedy of John Banville’s novel, with its moments of intentional self-parody, is that it includes a self-mocking portrait of the novelist. And it is testimony to how fine a character Alex is that Banville’s surrogate JB remarkably befriends him toward the end of the novel; they are to go to California to attend an Axel Vander conference together.
By the ending of this brilliant novel, Alex discovers that he “was mistaken about everything,” above all about Mrs. Gray, and the plot reversals involving her are as stunning and moving as those in Julian Barnes’ recent The Sense of An Ending. Alex is a wonderfully living character, who honors the elegiac wisdom of Ancient Light, the light from the past, and it is that contingent, fragile, yet healing light which illuminates Banville’s tragicomic new novel: “all my dead are all alive to me, for whom the past is a luminous and everlasting present; alive to me yet lost, except in the frail afterworld of these words.”
Sunday, September 16, 2012
Monday, August 13, 2012
Wednesday, July 25, 2012
As a seven-year-old boy, Beethoven loved to improvise. Such a freed imagination he already possessed that new themes, new combinations of tones and rhythms constantly entered his mind. And they begged to be expressed, to be played by the boy’s little fingers on the piano in his home in Bonn. Ludwig van Beethoven was at the time like your most gifted young pupil – full of ideas which move beyond conventional expectations and even beyond the norms and order essential to avoiding chaos in music and to expressing comprehensible feeling. Such a student can instill fear in an instructor or at the least stir frustration.
Beethoven’s teacher in these early years was his father, Johann van Beethoven. The father had the choice of either encouraging and guiding his brilliant young son, or censuring and forbidding his improvisations. Johann chose the latter course and even, it is said, beat little Beethoven into obedience. Yet it is possible with such gifted youngsters that, while they may display overt submission, they inwardly continue exploring their imagination and developing their ideas. Such was the case with Beethoven, who as soon as he began lessons with a compatible teacher, produced a stream of increasingly brilliant compositions. One early work readily available to pianists is “Nine Variations on a March by Dressler,” composed when Beethoven was nine in 1780. It is quite reined in by convention until a middle variation, the fifth, which erupts with suppressed energy in flurries of manic, very fast notes – like a toccata in thirty-second notes. Such energy and imagination always stirred beneath the conventional surface demanded by his father.
Thursday, June 21, 2012
Both Mozart’s concerto and Blake’s early poems project an open display of fairly fierce emotions and are more intense than more conventional contemporaneous works. The fact that Mozart’s dramatic concerto was in C-minor was also significant for Beethoven, for the most dramatic and intense works he published early were in minor keys, and particularly C-minor: the second of the three piano trios opus 1 and the first of the three early piano sonatas in opus 10 (his first published piano sonata, opus 2, no. 1, is in the related key of F-minor).
Even at the age of ten, I loved hearing the wonderful momentum of Casadesus’ rippling scales on this recording, charging ahead, and with the main theme and its repeated final punctuating phrase all beautifully phrased. Casadesus’ “sound” – the warmth, clarity, and restraint of his tone and approach – were, I remember, admired also by my mother, who was an amateur pianist and who loved playing Chopin’s first Nocturne, Schumann’s Arabesque, and Beethoven’s opus 7 piano sonata, no. 4 in F. (She had aspired to professional competence in the mid-1920s, studying during her University of Chicago years with a pianist who had in her turn studied with Cortot.)
This Mozart C-minor concerto recording, which my father would play on our living room console, was an early vinyl LP, the 1951 collaboration between Casadesus and Szell. Both pianist and orchestra perform the main theme with extraordinary clarity and force: it is a surging melody rising up the scale by thirds from the initial C and then descending the scale to a repeated, slightly jagged, drily voiced three-note phrase as it moves down the scale to final harmonic resolution.
That repeated jagged motif – da-Da Da, with the third note rising in pitch – is heard frequently throughout the first movement as a sort of unifying element and evolving punctuation. The pianist Casadesus and Szell were both famous for their clarity and cohesiveness, and these qualities are wonderfully present in their recording of the tragic force of the main melody and the subsequent unifying repetitions.
It is just that combination of qualities – cohesively evolving repetitions and the sense of tragic drama – which Beethoven’s early minor-key works value and develop. A good illustration is provided by one of his six early-period opus 18 quartets. My father and his friends often performed these works during their quartet evenings at our house during the Fifties, and the fourth quartet in C-minor reveals and transforms the influence of Mozart’s music and particularly the great 24th concerto.
Opus 18 no. 4 starts with a characteristic theme, a surging opening comprised again of an upward moving melody and a descent in pitch accompanied by a repeated punctuating motif (these features echo the features of Mozart’s concerto). Beethoven’s repeated “punctuation” is a frequently voiced octave leap upward, as the opening exposition of the main theme closes in through brusque chords and more of those punctuating octave leaps toward harmonic resolution.
Though this movement is more somber than Mozart’s opening C-minor concerto movement, it’s clear that many of the effects I tried to describe in the latter are the basis of further experimental development in Beethoven’s C-minor quartet movement. Of course, Beethoven adds his unique aesthetic characteristic of creating music which is continually “working out” its motifs, testing new combinations of them, and inviting the players to feel as if they were participating in his building of the musical edifice, in his constructing this creative flux in time.
In my next post, I’ll turn to a recording of Beethoven’s middle-period Violin Concerto, which the family owned and heard in the early Fifties.
Sunday, June 3, 2012
At the head of the table sits Joyce himself, pivoting in his chair towards a piano conveniently placed by him, and he is playing away right through all the talk and clatter, the vodka toasts, Flanagan’s story and the laughter of its reception. Joyce plays no opera or Irish song: he is playing Beethoven’s Hammerklavier sonata.
Suddenly Lucia turns to me, puts her hand on my knee, and whispers – almost mouthing the words: “Do you love me?” I soon awoke into my 1965 life, but not before I felt the full force of her searching glance, her yearning words, and her delusion.
The dream has continued to reverberate in my imagination for almost a half century. In 1970, I wrote a story about a piano virtuoso, and the story continued to grow until 1990 when it became my novel Hungry Generations. The painting on its cover (based on Matisse’s “The Music Lesson”) shows the virtuoso playing the piano with his family sitting about and his new friend, a young composer, standing and listening. Beethoven is everywhere present – his picture on the wall, a volume of the sonatas on the piano lid, and the filigreed opening notes of his Hammerklavier atop the picture.
There exists a wonderful photograph of Joyce playing the piano with his son Giorgio listening as he leans over the closed lid. There is a painting on the cover of my study of music and modern fiction, Fullness of Dissonance (which was written in the eighties and published in 1994), and it is based on the photograph. The painting shows Joyce at the piano with not Giorgio, but Mann, Proust, and Schoenberg standing by the closed lid, listening.
The obsession – with a life of its own – does not stop. This is my seventeenth post about Beethoven, and of course several concern the Hammerklavier.
[Both of these cover paintings – visible in the right column of this blog – are by Jeanette Arax Melnick, my wife.]
I’d thought of writing about Tia DeNora’s 1995 study of how Beethoven’s aristocratic Viennese patrons early on helped to support and, in important ways, to shape the growth of Beethoven’s genius – its title is “Beethoven and the Construction of Genius.” But somehow I’d like to use more of these posts to explore why I love Beethoven – and so: my dream from the 1960s.
Friday, May 18, 2012
Thursday, May 10, 2012
There is no picture of my father playing the violin with me at the piano as we made our way through Beethoven’s violin-piano sonatas. I was eighteen and nineteen years old, and at times he would stop to correct a rhythm or improve ensemble – so that we “heard” each other’s parts and matched each other’s phrasing. My brother David sometimes listened to us and would reprimand our father for momentarily criticizing my playing: “Danny is not playing too loudly,” etc. Yet I was pretty unfazed by my father’s corrections, for I wanted to learn from them and tried to heed them: I felt I was being offered the pleasure of making the music with him.
Several times each, we played the Spring sonata, the great “middle Beethoven” opus 30 sonatas (especially the 7th in C minor), and we even tried once to play the very challenging Kreutzer and also the last violin-piano sonata, the 10th, which is full of off-beat and askew phrasings and structures forecasting “late Beethoven.”
My favorites to play with him were the somewhat easier opus 12 series, and particularly the second in A-major. This was early Beethoven, quite playable for an amateur and exhibiting most clearly and beautifully the form and ethos of growth, of displaying and organically unfolding all the interrelated qualities of Beethoven’s musical structures.
The A-major sonata begins in a sort of waltz-time with a lovely set of seven trochees descending the scale – Da da, Da da…etc. This vibrant and fast “Allegro vivace” theme is set against the waltzing accompaniment with the two-note descending trochees occurring on the first two of each three waltz beats – Da da da, Da da da…etc. The theme is repeated with fine differences, and it’s then shared with the violin, so that there is the effect of wave upon wave of descending melody. These “waves” of music are interspersed with some ascending motifs which naturally then lead into new forms of descending melody. The joyful back-and-forth flux then incorporates additional, more decisive sounding motifs, but never so decisive as to diminish the beautiful sense of pulsing waves of melodies in descending and in ascending form. There’s a wonderful feeling of rhythmic release to these descents and ascents, which reminds me of the enjambed rhythm overflowing into the third line as well as the image of beneficent ascent in these lines of Shakespeare’s Sonnet 29:
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven’s gate.
Monday, April 30, 2012
Imagine a piano in a crowded setting, like the communal room of a boarding house. Mute, unplayed, the piano has sat there for the first month of a freshman student’s first semester. (First year students at Berkeley live in a regulated setting – such was the case in 1961 and probably continues to be – in boarding houses, dorms, or Greek houses.) Finally the seventeen-year-old - bewildered and desperate for a piano to play - sits down at the piano, amid the chattering crowd, and he begins playing Beethoven. Conversations do not stop; nothing much changes, except that inside the mind of the young man, there is a nearly hypnotic zeroing-in on the sense of working out the motifs and possibilities of a beautiful structure in sound.
Some people listen to the piano being played by the very young man with bushy red-brown hair, thick horned-rim glasses, and pale green eyes. There is some pleasure in hearing the Beethoven sonata being played amid the cooking smells, the chatter and laughter. The sense of “making music” (or the player's experience of "musica practica") – of an emotional and intellectual structure being built in ephemeral sound - has its own fascination for the player/hearer.
Sunday, April 15, 2012
In approaching Beethoven’s late works, Theodor Adorno in his Beethoven: The Philosophy of Music (pages 90-111) earlier explores “the renunciation of symphonic mastery" even in the Sixth Symphony, the Pastoral (1808-9) or in the Archduke Trio, opus 97 (begun in 1810) and in the last Violin-Piano Sonata, opus 96 (1812). This loosening of the grip of sonata structure – of conflict and resolution – occurs in works which are contemporaneous with the great sonata-form works Beethoven composed in his late thirties and early forties (for example, the Fifth Symphony, finished in 1807 and revised in 1809, and the Seventh Symphony from 1811-12). In contrast to the Appassionata’s first-movement struggle against the recapitulation, the Archduke Trio contains an “unobtrusive recapitulation.” Characteristic of this alternative version of the sonata form is a sort of “smiling play” which is “reticent and not triumphal” – in the Pastoral Symphony, for example, we hear a sort of “dillydallying as utopia,” “setting time free.” In such moments “of stand-still: here the memory of the human survives, that all reification is not quite serious, that the spell [of domination] can be suspended and we can be called back to the human.”
The spell of domination, as I tried to show in my previous post, is located by Adorno in the mechanistic “autocracy of the recapitulation” but also in the occasional moments of “ostentation…intended to present something magnificent [but] remaining simply empty” (75-79). Adorno is by no means referring to the cohesive intensity of the Appassionata, with its moments of violence as it drives sonata form into extremity. Rather he is identifying an opposed tendency when Beethoven’s music “takes on something brutal, Germanic, triumphalist” – not merely in Wellington’s Victory but even in the Piano Sonata, opus 31 #1, which is almost a parody illustrating “the entanglement of lucidity with pomp.”
Beethoven’s late works “show how it is possible for art to divest itself of the ‘self-deception’ of totality,” of such dominance (80). These great works were written in his late forties and his fifties – from 1817 to 1827, during the last ten years of his life. This achievement is the focus of the final seventy pages of Adorno’s book (pages 123-193). The first four pages reproduce “Beethoven’s Late Style” from Adorno’s Moments Musicaux, (pages 123-126), and the opening sentences are not infrequently quoted: “The maturity of the late works of important artists is not like the ripeness of fruit. As a rule, these works are not well rounded, but wrinkled, even fissured…They lack all that harmony which the classicist aesthetic is accustomed to demand from the work of art.” The reprinted essay’s few pages offer a brilliantly compressed account of Beethoven’s own late aesthetic, accounting for the insertion of conventional formulas and phrases into the late sonatas and quartets – the decorative trills, cadences, the improvisatory embellishing fiorituras, abrupt breaks, sudden crescendos and diminuendos, the octave unisons of empty phrases, then passages of baroque polyphony, etc. As we listen to these effects in the last sonatas, the Diabelli Variations, and the late quartets, the question Adorno poses is why these “conventions are made visible in their unconcealed, untransformed bareness.”
“Conventions are split off” in “fissures, rifts, and fragments,” in response to the fact that the purposeful subjectivity of unfolding Appassionata-like sonata structures “breaks away” or has broken down. All the often antique conventional effects – “as splinters, derelict and abandoned – finally themselves become expression…no longer of the isolated ego but of the mythical nature of the creative and its fall.” In this way, conventions and antique phrases become “expression in the naked depiction of themselves” – become emancipated: “To liberate these phrases from the illusion of subjective control, the emancipated phrase speaks for itself.”
Beethoven’s late works, Adorno writes, “still remain a process, but not as a development” like the middle-period sonata forms; the “process” of the late sonatas and quartets “is an ignition between extremes.” Extremes are forced together within the moment, where “the empty phrase is set in place as a monument to what has been – a monument in which subjectivity is petrified,” the now dying subjectivity of Beethoven’s past. The sudden “caesurae, however, the abrupt stops” are, however, moments of breaking free, for “the work falls silent as it is deserted, turning its hollowness outwards. Only then is the next fragment added, ordered to its place by escaping subjectivity,” the failing “light in which the fragmented landscape grows.” In his late creation of fragmented and juxtaposed phrases, Beethoven “as a dissociative force tears them apart in time, perhaps in order to preserve them for the eternal. In the history of art, late works are the catastrophes” (126).
In the pages that follow the above essay, Adorno’s notes (for those are what much of his book is comprised of) offer many, often fragmentary insights into the five late piano sonatas (opuses 101, 106, 109, 110, and 111), the Bagatelles for piano opus 126, and the late quartets (particularly opus 132 in A minor receives more sustained treatment). The Ninth symphony, finished in 1825, is criticized as a reversion to the middle period – a late work not in his late style. There are some brilliant comments on the late style’s sudden “harsh contrasts” between fugal effects and chord-like “simplicity,” its “splitting itself into monody and polyphony,” and the purity and depth of its commitment to such fragmentation of effect – clear for example in the wondrous shifts of effect in the great last piano sonata, opus 111 – classical music’s last great piano sonata, marking, as Adorno explained to Thomas Mann, the death of sonata form itself. This is Adorno’s key focus, then: “To be purely the matter itself, to be ‘classical’ without adjuncts, classicity bursts into fragments. This is one of the decisive tenets of my interpretation.” Here is a link to Stephen Kovacevich’s brilliant performance of op. 111; the slow Arietta begins at 8:35: http://www.youtube.com/watch?v=3E_amCDr77Q&feature=related
Rather than detailing additional specific insights into the music (there will be another time and place for that part of my effort), I’ll conclude by mentioning two of Adorno’s more startling formulations. One is in response to Walter Benjamin’s conception of “the name,” of Adam’s task of naming in Genesis, as a form of prayer. Adorno sees Beethoven’s music as a similar process with a similar relationship to language (161-4). “Music saves the name as pure sound, but at the cost of separating it from things.” In enacting that separation, it conveys ultimately an awareness of death, of the self-awareness of the disappearance or “insignificance” of subjective individual experience. Music’s “gaze” may be on the human, but the art of music is “imageless:” like prayer, it is an “image of the imageless.” Later (on 176) Adorno likens imageless music’s “destruction of the particular,” of the relationship with the life of “things,” to the Talmudic prayer about the “grass angels:” “all perishes in the sacred fire.” And yet Adorno’s speculations paradoxically convey the power of prayer, aesthetic and secular as may be the hope embodied by Beethoven’s “demythologizing” late music (193). It is as if Adorno here seeks an art form that can withstand the terrible fire which consumed the period he survived of the Holocaust.
In the light of those speculations in extremis, the other extraordinary formulation I would mention speaks for itself (154): “In Beethoven, the spirit remains master of itself in experiences which are otherwise inevitably purchased with madness. These experiences, however, are not those of subjectivity but of language…Beethoven looks the bare language of music in the eye.”
Sunday, April 8, 2012
In Adorno’s Hegel-inflected formulation in Beethoven: Philosophy of Music, the movement maintains a defiant “diversity [which] evens out into unity but keeps diverging from it while the form remains an abstract sheath over the diversity,” a “sheath” comprised of the unity of sonata form. The continually unfolding sequences and motifs become examples of a tragic, subversive “subjectivity veering into wretchedness” (51) with the “individual moments estranged” (13) from the enveloping and enabling bourgeois conventions of sonata form with its false promise of freed and empowered expressiveness. The tragic power of the first movement of the Appassionata is that it transforms what is false and perfunctory into “a terrible beauty” (to use Yeats’ term), so that the eruptive music of the Appassionata sonata unfolds “a total becoming” within the dominating form which it inhabits (46).
Adorno’s earlier statements bear repeating here: “If Beethoven is the musical prototype of the revolutionary bourgeoisie, he is at the same time the prototype of a music that has escaped from its social tutelage and is esthetically fully autonomous, a servant no longer. His work explodes the schema of a complaisant adequacy of music and society” (43). And: “By its power, his successful work of art posits the real success of what was in reality a failure,” for “that bourgeois society is exploded by its own immanent dynamic – this is imprinted in Beethoven’s music,” whose creative process both reproduces and puts to shame (“explodes”) the “esthetic untruth” of bourgeois expressiveness and freedom, which are revealed as a deluded and null in comparison to the power of the music (46).
These formulations locate a paradox in Beethoven’s sonata suggestively reminiscent of a paradox in Dostoyevsky’s novels: in them, a protracted act of confession is expected and exacted from the protagonists, and yet their subversive voicing of the convention of confession is performed in such a way as to cast into question the very nature and substance of the confession. It is an index of their modernity or proto-modernity that the society-sanctioned forms are simultaneously fulfilled and subversively transformed. After Beethoven (or for that matter, after Dostoyevsky), one next step in the history of the arts is modern and postmodern travesty and pastiche.
Adorno offers many specific insights particularly into the Appassionata’s middle, development section in the “dialectical” first movement of the sonata (60). In this section, the sonata hugely expands the development and finally synthesis of the sonata’s two major thematic motifs not only in this middle section but in the coda as well (51-2). These “improvisatory” sections pit the resources of “fantasy” against the rigidity and restraint of sonata form, and they seem “haplessly to desire the suffering” of the confrontation, with its “extra-human” harmonies, their sforzando “minor seconds,” and the hammered chords and demonically driven arpeggios. These effects all place the listener, as it were, in mid-stream, in the midst of extreme turbulence, and instill a continual awareness of the “incompleteness of what has just been formed” – i.e., the open-ended power and shattering freedom of the creative process unfolding before us.
A significant crux for Adorno is the sonata form’s requirement that the original main theme be brought back by the “recapitulation” section after the shattering development. This reprise of the main theme is exposed, he writes, as an act of “crushing repression,” as “a trait of esthetic untruth” implicating bourgeois society’s imposition of and insistence on “the conjuring of static sameness amid total becoming” (44, 46). In the Appassionata, Beethoven refuses that complacent sameness by infusing the recapitulation with instability, continually generating newly energized details and accompanying the reprise with a low-pitched pulse of repeated notes, a constant agitation, quickly leading to the newly massive development of the coda. The sonata in this way exposes “the reprise as a problem,” subverting and upending “the moment of untruth in bourgeois ideology” (16) – and so for “Beethoven, then, the traditional forms are reconstructed out of freedom” (61).
The symphonic equivalent of the Appassionata is the first movement of the Third Symphony, the Eroica, composed just a few years before. For Adorno, the orchestral work’s earlier genesis and its more public “writ-large” gestures of “symphonic mastery” rather streamline the effects of the work. Nevertheless, a tension is once again set up between the “closed symphonic” (sonata) form and the “open” improvisatory organic episodes of “epic” development. There are the harmonic collisions in the Eroica from the opening bars on and the many other intentional irregularities, particularly – once again – in the development and coda sections. The many developments Adorno notes all conspire to reveal the turbulent and even tragic “incompatibility” of those rival, “irreconcilable” conceptions – of the “open” and the “closed,” the improvisatory and the conventional, the “epic” and the “symphonic” (105-6). In Adorno’s Marxist-Hegelian view particularly of hearing such a work in isolation in media remote from the concert hall, the collision of forms in the Eroica confirms “the truth of the unreconciled condition of the individual in bourgeois society” (120) – in part because one exists self-consciously both within and outside the inhabited society [a version of this Hegelian formulation - stressing the music's ironic Goethean wisdom of simultaneously enacting 'within' and narrating 'outside' - can be found, too, in Scott Burnham’s Beethoven Hero (146)].
In my next post, I’ll attempt to explore Adorno’s rather more detailed and remarkably responsive formulations about late Beethoven and his self-consciousness about convention and innovation.
Sunday, April 1, 2012
Here is an early example of Adorno’s stark formulations:
Tuesday, March 20, 2012
One of Haydn’s scores of quartets and then one of Mozart’s nearly a dozen quartets were usually played by the four musicians, and the evening would often conclude with one of Beethoven’s six opus 18 quartets or one of the three from opus 59 (though sometimes one by Schubert or, if they were feeling ambitious, one by Brahms). Particularly Beethoven’s early quartets, opus 18, published when the composer was thirty, were a source of great pleasure to the players, usually two or three skilled amateurs including my father, and one or two professionals. I loved to listen from my perch in the hall stairwell to the four men “making music” – it was as if I were privileged to witness the process of building or sculpting or painting a masterpiece.
“Making music” is the phrase my father used, and it’s particularly relevant to Beethoven and especially significant for the early period chamber works and piano sonatas. One of the ideas I hope to develop in my Beethoven project is the idea that the performers of his sonatas and quartets, etc., feel as if they are participating in the construction of the piece, the working out of motifs, the resolution of tensions, the upwellings of feeling: in short, we feel we are participating with Beethoven in making the music – the phrase which the philosopher Barthes employed for this experience is “musica practica.” This phenomenon is distinct from the sometimes virtuosic displays of professional musicians; it is rather to feel one is actively in touch with the unfolding form of the music. When I play through a Beethoven sonata or when my father and his musician friends played a Beethoven quartet, the experience seems like that of a sort of co-creator. Why this should be the case particularly with Beethoven is the question I will try to explore.
Monday, February 27, 2012
Here is one sequence from the novel:
The three bald geniuses danced from the raw, gray daylight into the living room. Even the Viennese Jew, serious and aloof, smiled at what Jack played. The thin Russian said: “This is true drunkard's music, yes! Surpassing even the drinking songs of my Hungarian colleague there, sneering in the shadow. It's like the peasant dances I knew as a child; I will illustrate.” He danced and shouted to Jack's wavering beat, stomping his feet, jutting his legs like a Cossack straight out in air, stumbling, and brushing against Beethoven who roared into the room. He glared at the wispy, dancing Russian as short as himself. Karl Beethoven flickered at the door, looking like his uncle's son, the eyes blinking and shifting, even more possessed, a criminal's eyes. His uncle had seen enough and walked toward the piano.
Jack rose from the bench and edged to the table, where he sat before his new notebook, transfixed with alarm and pain and wonder.
Sitting at the piano before the inked sonata pages, Beethoven had an aura of tangled, electric hair sticking out from his head. He hunched before the keys and began to play loud and unhesitating. Obscenities flowed from his lips, snatches of Italian, Russian, Hungarian, and German. His eyes were fixed on Jack's score, and his hands pounded everything, playing wrong notes, extending and further distorting allusions to his own sonatas. The pale Hungarian sat again at the end of the table, the Russian on the couch, the Viennese Jew on the stuffed chair.
At Scherzo's end, Beethoven began to play a wavering snatch of his last sonata, opus 111, the opening of the Arietta. Suddenly he stopped and swung on the piano bench to face them.
“Our whole disassembly present?” he said, bitterly eyeing his nephew who sat on a straight-backed chair he had taken from the table to a corner, between the front door and the entry to the kitchen. Karl frowned there, hang-dog and accusative, looking at them all with punishing resentment.
“See my nephew Karl. I love him like a son, and he hates me. But I know I demand and impose. I am an ass. Write that down,” he said bitterly, and he pointed imperiously to the 1973 journal, its first page open on the table in front of Jack. “Write me down an ass! Write me down an ass-hole! It doesn't matter.” His voice was hoarse and loud with words he could not hear. “What matters is that we seek eternity, that we are condemned to everlasting redemption.”
Against the wind, Jack slowly shepherded himself across Speedway, across the Venice beach, to the shifting sand at the edge of the Pacific. His jacket flew open, and the wind buffeted him. Alone, he faced the dancing wind-driven waves and the wide current eddying far out in the frenzied ocean.
The eloquent irony of being “condemned to everlasting redemption” (this is Shakespeare’s good-willed fool Dogberry’s malaprop phrase) is central to the ambiguities of leading a difficult, even harmed life yet being devoted in music to “seeking eternity.” In my novel, then, I tried briefly to render the character of the disabled Beethoven as a self-aware creator, demanding of others and above all of himself. [The above excerpt is found on pages 88-89 of Hungry Generations; Beethoven makes another Shakespeare-aided appearance on pages 152-3 of the novel.] To get to the Amazon.com page for the novel, click on the cover image at the top of the right column.
Wednesday, February 8, 2012
How to make what is at issue for him evident to the non-musician is a crucial question here. Of course, my students’ drafts were made subtler and less stigmatizing in their final versions, which reflected some added research and at least acknowledged other views. Perhaps they had been intrigued by the notion that a sort of 'monster' or ‘sacred monster’ should have composed the music, or perhaps they were merely offended by a person lacking the adjusted, communal temperament most of them favor. My hope is that in their future lives, further listening to Beethoven’s music will lead them to a more fully complex understanding of the composer.
What listeners hear is, of course, the crucial point about Beethoven’s achievement. They can hear a deep inwardness in his adagios and a triumph of the spirit in his allegros; in the Ninth Symphony’s opening, there is the sound of creation out of the void, and in moments of its finale, listeners hear the music of transcendence – it seems to some the voice of God. In certain movements, there is the deepest utterance of grief, and in others unleashed joy. And almost without exception, there is the sense of an unfolding order in the deaf composer’s works, not merely entertainment or empty occasion, but the presence of meaning. So the listener is confronted with the products of a deeply engaged, wide ranging, and immensely productive imagination, beyond the scope and ken of ordinary creativity.
Beethoven was severely disabled. He became deaf by the time he was in his early thirties, and this disability was a sort of tragic irony, for it is particularly harmful and isolating for a composer of music, and it is a stunning, meaningful paradox that his music should emerge from silence. Of course, in the face of any disability, isolation as well as peculiar compensating behavior frequently ensues. Deafness is an especially isolating disability, particularly in the era long before the development of effective hearing aids. One is cut off from hearing, from receiving communication, from participating in ordinary society. The result is, even in forbearing temperaments, the setting up of added barriers to save one from embarrassment and to compensate for one’s disability. One can seem distracted and absent minded, and so one can seem rude and “truculent” – such is Beethoven’s term in the Heiligenstadt Testament of 1802 in which he explains the trauma of his fate to his brothers and asks for their help. In short, from 1800 to the end of his life in 1827, Beethoven was profoundly disabled by being deaf. This astounding fact intensifies one’s admiration for his achievement.
And so, despite his disability, it was Beethoven’s temperament to demand from himself the highest level of engagement, yielding in him a special forcefulness and intensity and producing music at the highest level of achievement. The demands he made exacted an extraordinary toll on him. The composer’s work differs, of course, from more routine employment, which in good circumstances can be left at the office or factory. Beethoven, however, was continually working out his demanding musical ideas – not merely on walks but continually.
In addition, at the level of basic humanity, this demand resulted partly from the responsibilities he felt toward his younger brothers, earlier toward his parents, and later toward his nephew. He needed to earn a fairly large sum for the purpose of maintaining them, and in the new role of self-employed composer (and an increasingly deaf and thus endangered one) he needed constantly to produce, perform, market, and publish his works. These pressures existed in addition to the creative pressures themselves.
There is much to say about the roles in Beethoven’s creative process of freedom and struggle, of will and fate (“it must be,” he writes in the initial measures of the last movement of his last work). I’ll turn in my next post to the ways in which some of these ideas relate to some of Beethoven’s early and middle period works.
Monday, January 23, 2012
Sunday, January 8, 2012
The opus 109 sonata partakes of the features I tried to describe of “the sublime” in my last post. It was Egon Petri’s recording that first introduced me to the sonata; its clarity of phrasing and structure were the work of a master teacher, profoundly illuminating and prompting me to try exploring the music at the piano (someday I hope to discuss a great Roland Barthes essay examining the logic and value of the amateur sight-reading of Beethoven’s sonatas). Its first theme always reminded me of the Scherzo of the last quartet – such a fleet yet contemplative theme, so full of potential nuances. I more fully heard those subtleties of “breathing,” of phrasing and emphasis, when I listened to Rudolf Serkin’s wonderful recording from the early sixties; I admired the performance’s sense of being in process, of hewing the phrases and tones from the music’s edifice. His is the opposite of an unfinished performance; rather it is that Serkin abjures any impression of surface smoothness and focuses on the larger formal arc or shape of a sequence or movement. Every small, intentional strangeness of emphasis or slight fracturing of rhythm in the initial statement of the opus 109 theme calls attention to the wondrous promise of the larger form, of the highest level of coherence and meaning.
In short, the listener is grateful for the signs of struggle and even estrangement here; they indicate the presence of meanings and emotions below the beautiful ordered surfaces of the music. This effect achieved in Serkin’s performances of the late Beethoven sonatas is related to what I tried to say about the sublime – that there is in late Beethoven a level of aesthetic experience that moves beyond the perception of conventional beauty to the experience of an open-ended baring the building materials of the music, where the unexpected rifts become openings for unexpected, undreamt-of expression, akin to the sight of the Matterhorn and in its own way stirring awe and inciting the imagination, uncapturable, evanescent, and transcendent.
After less than twenty seconds of the initial lyric melody, the grand gesture of a loud and sweeping broken chord occurs in the treble, a sort of step up Matterhorn: a startling block of sound followed lower in pitch by another stamped chord, and yet the fullest, stamped loudness never occurs, for the grandness immediately evanesces into gentle, resolving chords; then within seconds, the pattern is repeated, except that the resolving chords are now made to stretch toward a new harmony and a swift rhythm in thirty-second note triplet arpeggios which sweep down the keyboard – but again the soft gentling occurs, even in these fleet triplets. This pattern keeps pulsing until it gives way once more to the beautiful lyric melody of the sonata’s opening. In Serkin’s wonderful performance, all these sequences, whether stamped or softened or stretched, partake of the special improvised angularity which is a sign of the uncanny presence of the sublime.
The middle movement of opus 109 is a stormy scherzo, a very fast march, but like Mahler’s marches, it undercuts itself with off-beat emphases and strange syncopations and, most of all, through the continual triplet tread, so that three note units seem not to spring forward but to turn back in a sort of contrapuntal conversation with itself – this is most evident about twenty seconds into the movement at bars 16 and following. Similarly, the harmony remains ambiguous; for all the stridency of the initial e minor theme, the movement keeps refusing to offer a conclusive assertion of e minor closure. Even the final bars, wavering between the conclusive and the exploratory, play with modulations to the G major complement to the movement’s key of e minor, then C major, and then some insistence on the unstable dominant seventh chord before the final e minor chord.
But it’s the final movement of opus 109 that is a most impressive instance of Beethoven’s late style. It is in variation form, like the final movement of opus 111 and the world-encompassing Diabelli set, opus 120, and I’ll later offer some thoughts about the form itself. But first, there are some wonderful YouTube videos of a Daniel Barenboim master class for Jonathan Biss playing the opus 109 sonata, particularly its last movement (http://www.youtube.com/watch?v=OHgfuf-Nn-Q is the second in the relevant video sequence). Biss plays the theme with a beautiful sense of the structure of phrases, always alert to nuance and to the quieting approach to each cadence (there are some wonderful added details in Serkin’s similar performance of the theme, for example the B octaves struck to ring out the statement of the subsidiary theme after the double bar at bar 8). Then, with the first variation, Barenboim interrupts to call attention to the odd angularity and uniqueness of the sequence, so disconnected from the sixteen bars stating the theme. This oddity appears in the stretching of rhythm and phrase, in the ornamental double grace notes or thirty-second notes packed in before the emphatic initial beats of bars and in those beats themselves with their ringing tones, struck high above the previous range of pitches in the music. This variation’s taking apart of the theme, stretching it almost beyond recognition, is a first step in exposing and breaking apart the theme’s essential elements. (The fifth variation even recruits an antique fugue further to unfold the process.) This breaking down to essences and then reconstituting them in an improvisatory release of new music represents a process at the core of late Beethoven and is most evident in the final, sixth variation (beginning at bar 153).
Here in the sixth variation, the theme is reduced to its simplest common denominator, the most basic chords for two bars, and then the quarter notes are doubled, then multiplied by three, then by four, and then by eight. Finally, trills are introduced in the middle, then in the bass, and then in the high treble, as a sort of alert or alarm ringing out to accompany the continuing deconstruction of the original chords. And at the end all the trill and blur of thirty-second notes quiets down to give way to the moving simple restatement of the original theme, out of which an entire world of possibility had developed.