Beethoven's Symphonies Critically Discussed
()
Read more from Alexander Teetgen
Beethoven's Symphonies Critically Discussed Rating: 0 out of 5 stars0 ratingsBeethoven's Symphonies Critically Discussed Rating: 0 out of 5 stars0 ratings
Related to Beethoven's Symphonies Critically Discussed
Related ebooks
Beethoven's Symphonies: Nine Approaches to Art and Ideas Rating: 5 out of 5 stars5/5Symphonies and Their Meaning; Third Series, Modern Symphonies Rating: 0 out of 5 stars0 ratingsBeethoven: The String Quartets Rating: 0 out of 5 stars0 ratingsThe Main Stream of Music and Other Essays Rating: 0 out of 5 stars0 ratingsStructurally Sound: Seven Musical Masterworks Deconstructed Rating: 0 out of 5 stars0 ratingsBeethoven's Chamber Music: A Listener's Guide Rating: 0 out of 5 stars0 ratingsBeethoven Hero Rating: 5 out of 5 stars5/5Reclaiming Late-Romantic Music: Singing Devils and Distant Sounds Rating: 0 out of 5 stars0 ratingsStyle and Idea Rating: 4 out of 5 stars4/5On the Performance of Beethoven's Symphonies and Other Essays Rating: 0 out of 5 stars0 ratingsSymphonies and Other Orchestral Works: Selections from Essays in Musical Analysis Rating: 5 out of 5 stars5/5The Mahler Symphonies: An Owner's Manual Rating: 5 out of 5 stars5/5Haydn and His World Rating: 0 out of 5 stars0 ratingsSergey Prokofiev and His World Rating: 0 out of 5 stars0 ratingsConducting Business: Unveiling the Mystery Behind the Maestro Rating: 5 out of 5 stars5/5Mahler and Strauss: In Dialogue Rating: 5 out of 5 stars5/5Symphony No. 7 In Full Score Rating: 0 out of 5 stars0 ratingsExpressive Intersections in Brahms: Essays in Analysis and Meaning Rating: 0 out of 5 stars0 ratingsBeethoven, A Life Rating: 4 out of 5 stars4/5The life of Johannes Brahms (Vol 2 of 2) Rating: 0 out of 5 stars0 ratingsGustav Mahler: The Symphonies Rating: 5 out of 5 stars5/5Mahler and His World Rating: 0 out of 5 stars0 ratingsThe Music of Liszt Rating: 5 out of 5 stars5/5Zubin Mehta Rating: 0 out of 5 stars0 ratingsRobert Schumann: The Life and Work of a Romantic Composer Rating: 3 out of 5 stars3/5Brahms: A Listener's Guide Rating: 0 out of 5 stars0 ratingsA Shostakovich Casebook Rating: 5 out of 5 stars5/5The 30 Greatest Orchestral Works (Transcript) Rating: 4 out of 5 stars4/5The Masterwork in Music: Volume I, 1925 Rating: 5 out of 5 stars5/5Haydn Rating: 3 out of 5 stars3/5
Reviews for Beethoven's Symphonies Critically Discussed
0 ratings0 reviews
Book preview
Beethoven's Symphonies Critically Discussed - Alexander Teetgen
The Project Gutenberg EBook of Beethoven's Symphonies Critically Discussed, by
Alexander Teetgen
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: Beethoven's Symphonies Critically Discussed
Author: Alexander Teetgen
Release Date: September 23, 2012 [EBook #40849]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK BEETHOVEN'S SYMPHONIES DISCUSSED ***
Produced by Linda Cantoni, Paul Marshall, Bryan Ness and
the Online Distributed Proofreading Team at
http://www.pgdp.net (This file was produced from images
generously made available by The Internet Archive/American
Libraries.)
Beethoven's Symphonies
Critically Discussed
BY
ALEXANDER TEETGEN
With Preface by John Broadhouse
London:
W. REEVES, 83 Charing Cross Road, W.C.
Dedication.
TO J. O'MABONY, ESQ.
Who taught me, when a happy schoolboy—in the house of my beloved and venerated master, the Rev. Alfred Whitehead, M.A., and his dear wife—to sing at sight, who first fostered my passion for music; to that genial and highly accomplished man, who has vanished from my view for years, but not from my memory, where he resides ever, as a kind of Apollo Belvedere of those far-off days—that New World to which the Columbus Man, may never return.
CONTENTS
PREFACE.
These essays originally appeared in The Musical Standard, for which paper they were written.
While admitting that the author has at times been carried away by his exuberant fancy, it is impossible to deny that he possesses in a very high degree those powers of analysis without which it is impossible to do justice to, or even approximately to understand, Beethoven. Music is verily the language of the soul—higher, finer, more delicate in its methods, and more ethereal in its results, than anything to which the tongue can give utterance; expressing what speech cannot speak, and affecting, as no mere talking can, the invisible player who manipulates the keyboard of the human intellect, and whom we call The Soul. Music is truly of such a nature, and appeals so powerfully and mysteriously to that soul, that the words of Jean Paul seem quite justified,—
Ich glaube, nur Gott versteht unser Musik.
Beethoven wrote such music as few even among those calling themselves musicians can understand, as the word is generally used; and which, in Jean Paul's sense of the word, is understood not at all. Like the ocean, or Mont Blanc, we can feel its power, while at the same time we are conscious that explanation would be almost desecration. We do not want Beethoven's music explained, but would rather be left alone with that which we can only feel, but cannot understand while hampered with this mortal coil.
Under the spell of such music, we can only explain the emotions it produces in us, and we can only do this in a fashion far from complete. Mr. Teetgen has only attempted an explanation of Beethoven's symphonies in this latter sense; and so far from feeling his little book as an impertinence—which any attempt to explain Beethoven's music (his soul, id est) would be—we feel helped in our endeavours to understand something of the means by which the greatest tone-poet worked his incantations and wove his spells.
We cannot always agree with Mr. Teetgen in his estimate of other composers—notably, Mendelssohn, whom he holds in much lighter esteem than we do, and we could not endorse all he says of Mozart, either; he does not worship his great hero too much, but the others too little. Of his most intense admiration for Beethoven, however, none can doubt; and those who read this little work will, we think, agree with us in saying that Mr. Teetgen's analytical and descriptive powers, in dealing with the symphonies, are on a par with his veneration for the great master whom we all delight to honour, and who realised his own ideal—some of us, at least, think so—There is nothing higher than this—to get nearer the Godhead than other men, and thence diffuse its beams over mankind.
Fashions change in music as in other things; but Beethoven's music has in it that truth which, being eternal, cannot change; and we cannot conceive a state of culture so advanced that these Symphonies shall be deemed old-fashioned. If ever that condition is reached, it will be reached not by progression, but retrogression.
J. B.
BEETHOVEN'S SYMPHONIES CRITICALLY
AND SYMPATHETICALLY DISCUSSED
BEETHOVEN'S HARBINGERS.
HERE are some words of such indefinite pregnancy that they expand the soul when we pronounce them. The highest of these I do not name; but love
is one, spirit
another, immortality
another, and symphony
another. We suppose, the first symphony was when the morning stars shouted together for joy;
and the mystic world-tree, Igdrasil, with its leaves of human existence,
and myriad manifestations, maketh a symphony for ever in the ear of the Eternal. As music is sound, so perhaps all sound is music, to a higher being—even the discord of pain, and the half cadence of sorrow being justified by a soul of meaning; just as music proper, itself would not be half so sweet or complete without its profound minors and expressive dissonances. The world is full of music—from the tiny-trumpeting gnat
and the forest-buzz of summer, the happy murmur of the sea on its mother's breast, and the equally happy hum of the bee in the waxen cup, to the scream of the eagle and the roar of the lion, the thunder of the breakers and of heaven's artillery. Every one has observed how the very creak of a door may sometimes rise into music. And the whole world goeth up in music, swelling the symphony of the spheres. But, from these ground tones—these universal hints to their human expression and counterpart in the father of all such as handle the harp and organ,
was a long, long way. Nature waited to produce her mouthpiece, Man, to manifest herself forth in that prolongation of herself which we call human nature. Then the vague sublimity of unfettered sound became incorporated in tone—became conscious—and spoke more humanly to the soul of man. At length, after a whole history of evolution, the pride of modern times—modern music—appeared; and in due course, after a tottering infancy and empiric youth, the modern symphony. As in every case, the outcome is the result of an endless series of gradations; for, if nature abhors a vacuum, she at least equally abhors drawing a line, and taking a jump. Therefore, if we denominate brave old Haydn as the father or founder of the modern symphony, it is for happy convenience sake, and not because strictly accurate. Always there were Agamemnons before Agamemnon; and Haydn borrowed and imitated like everybody who is first student and then master (in his old age, sogar, he learnt of and benefitted by Mozart). Cursorily we may mention as kinds of forerunners Bach's Suites,
such a piece as Purcell's prelude to King Arthur
(what a prelude would such a subject demand now! Milton, too, thought of poemizing King Arthur); and Handel's Pastoral Symphony,
which so beautifully and for ever corroborates old King George's remark (which we suspect he stole). The value of no word is known till the greatest master of it has arrived. This is strikingly illustrated by a Handel symphony, and a Beethoven. It is the latter which expands the better part of us in the way spoken of at the outset. The unconscious men of Handel's time used it in little more than the sense of a strain; and here it may be remarked that progress is impossible without consciousness, but that—wheel within wheel—the higher consciousness will always have a soul of unconsciousness. The two are sine quâ non. Conservatism and convention are the eternal necessary protests and counterpoises to chaos; and every man has his roots in his time (and in the past); therefore we are not surprised that Haydn constructed his symphonies in the mode and spirit of that day—especially retaining the minuet—which Beethoven himself only later discarded for the scherzo. Moreover, a moment's reflection will show us that the form of a symphony, as of a sonata, is naturally dictated, of inner necessity, by the simple need of natural contrast. An adagio may well open the piece—so may an allegro; but then we certainly want an andante, or largo; scherzo, or minuet, are next expected; and a presto to wind up—for art also is dependent on flesh and blood; and the human body, as well as mind, dictates many of art's proceedings. The form, then, of the symphony was, we may say, on the whole, dictated, from the beginning of things. Nobody can particularly claim to be its inventor; nature, even in art, has ever the greatest share.
If Haydn could really claim to be the inventor of the symphony, he would be a far more original genius than he is ever believed to be—though probably we do really underrate his originality, a fate which inevitably overtakes all such men. If we leave the form, then, and consider the spirit of Haydn's symphonies, it is, shortly, the spirit of eternal youth; just as one could apply to Mozart Gilfillan's appellation of Shelley, the eternal child.
We get a negative idea of Haydn if we reflect how infinitely removed from Hamlet! (Beethoven, on the contrary, how allied!—a German Hamlet). I do not believe that Haydn, any more than the other two of that glorious Orion's belt, was a good Catholic.
I imagine, all three had a proclivity rather to natural than revealed religion; and I believe that we may compass and understand, in a manner, that marvellous outburst of South German music, with all its freedom and glow, by considering it as Roman Catholic without Roman Catholicism; one feels and sees rather the eternal truth and poetry of nature than the warped narrow spirit and practice, and garish glare, of papal dogma, priest-presided slavery, and superstition. But, to quit these impossible difficulties, the music of all three is stamped by one grand common characteristic—it is German.