beyond bach: beethoven’s studies of bach’s works
TRANSCRIPT
All great Classical composersafter Bach studied his worksand learned from them, but
no one succeeded, as Mozart andBeethoven did, in grasping and fur-ther developing Bach’s science ofcomposition in such a way, thatsomething entirely new emerged,again pointing into the future.
Ludwig van Beethoven had beenfamiliar with Bach’s art of composi-tion since his early youth. In 1783, anarticle appeared in Cramers Magazinder Musik, which stated that youngBeethoven “could become a secondMozart.” The proof of his extraordi-nary talent was: “He plays most ofThe Well-Tempered Clavier by Sebast-ian Bach, which Mr. Neefe hasplaced in his hands. Anyone whoknows this collection of preludes andfugues (which one could almost callthe nec plus ultra) will know whatthat means . . ..”
In 1783, The Well-TemperedClavier existed only in private orcommercial manuscripts; the firstprinted editions were published, firstin 1799 in England, and in 1800-01 in
Leipzig-Vienna, Bonn, and Zurich.Beethoven’s teacher Christian Gott-lob Neefe, who was in contact withBach’s son Carl Philipp Emanuel,served as a proofreader of the editionof the Simrock publishing house inBonn. From the essay in CramersMagazin der Musik, one can concludethat the copies must have been circu-lated rather widely among musiclovers.
When Beethoven started his stud-ies with Haydn in Vienna—thehoped-for studies with Mozart hadbeen rendered impossible by the lat-ter’s early death—he was welcomedand received by the admirers ofJohann Sebastian Bach’s music inVienna. There was the well-knownBaron Gottfried van Swieten, inwhose house the musical elite ofVienna would gather every Sunday,and where, according to Mozart,“nothing was played but Handel andBach,” and whose library Mozartdescribed as “although in quality avery large store of good music, yet inquantity a very small one.” Andthere were more admirers of Bachamong the musicians, poets, publish-ers, and personalities from the nobili-ty and from economic life.
In an essay recently published inFidelio magazine on “MosesMendelssohn and the Bach Tradi-tion,” Steven Meyer points to thespecial role of the family of the Jew-ish banker Daniel Itzig from Berlin.1Frequent cultural gatherings at hishouse were attended by (among oth-
78
Beyond Bach: Beethoven’sStudies of Bach’s Works
by Ortrun Cramer
Ludwig van Beethoven
COGNITION VS. INFORMATIONIN MUSIC
On the Subject ofStrategic MethodOn the Subject ofStrategic Method
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Click here for Full Issue of Fidelio Volume 9, Number 2-3, Summer-Fall 2000
© 2000 Schiller Institute, Inc. All Rights Reserved. Reproduction in whole or in part without permission strictly prohibited.
ers) Moses Mendelssohn and Got-thold Ephraim Lessing, and by thebrothers Wilhelm Friedemann andCarl Philipp Emanuel Bach. Itzig’sdaughter, Sara Levy, had studiedpiano with Wilhelm Friedemann;she became a key figure in the net-works defending Bach’s music. Hersister, Babette Salomon, was FelixMendelssohn’s grandmother; shegave him a copy of the full score ofBach’s St. Matthew Passion. Two oth-er daughters of Itzig, Fanny vonArnstein and Cäcilie Eskeles, weremarried in Vienna. Fanny von Arn-stein was a co-founder of theGesellschaft der Musikfreunde(Society of Friends of Music) inVienna; Beethoven wrote a smallcomposition into Cäcilie’s album:“Edel sei der Mensch, hilfreich undgut” (“Let man be noble, helpful andgood”).
Of special value for Beethovenwas the library of his student, friend,sponsor, and protector, the ArchdukeRudolph, son of Emperor Leopold II,half-brother of Franz I. ArchdukeRudolph, who later became Cardinaland Archbishop of Olmuez, was ahighly talented musician. He playedthe piano part in the first perfor-mance of Beethoven’s Violin SonataOp. 96, and composed forty varia-
tions on a theme by Beethoven,which he dedicated to his teacher. Hehad an impressive library, whichBeethoven could use, which con-tained a large number of works byJ.S. Bach in print, hand-writtencopies, or manuscripts, as well asmany theoretical works on musicwith further Bach pieces. InRudolph’s library were: The Art of theFugue, The Well-Tempered Clavier, allfour parts of the Clavierübung, theTwo- and Three-Part Inventions, theFrench and English Suites, Motets,Masses, the Four-Part Choral Songs,and much more.
For Beethoven, this library wasof great value; it enabled him topick out what was “most appropri-ate” for his studies, as he declared ina letter to the Archduke. It isremarkable, that Beethoven dedi-cated to the Archduke a wholeseries of his greatest compositions,which are most clearly influencedby his Bach studies, among themthe Piano Sonatas Op. 106 and 111,and the Grosse Fuge Op. 133. WhatBeethoven considered his greatestwork, the Missa Solemnis, was origi-nally intended to be performed onthe occasion of Rudolph’s enthrone-
ment as Archbishop of Olmuez.In his correspondence with his
publishers, too, Beethoven showedhis constant concern with the workof J.S. Bach: On the one hand, heconstantly requested copies of newlypublished editions, for example, acopy of the B-minor Mass, from thepublishers Breitkopf and Härtel inLeipzig, and Nägeli in Zürich. Hethanked Breitkopf and Härtel forsending him Bach compositions,writing, “For the beautiful things ofSebastian Bach, I thank you verymuch indeed, I shall preserve themand study them.” Beethoven wel-comed the planned project for acomplete edition of Bach’s works, atthe beginning of the Nineteenth cen-tury, as “what does my heart good,my heart which beats fully for theelevated, great art of this originalfather of harmony.”
In Beethoven’s sketchbooks,interspersed among work on his owncompositions, there are numerousentries of short or long passages fromBach’s works, among them, theChromatic Fantasy, and fugues fromThe Well-Tempered Clavier andThe Art of the Fugue.
The method of noting down asso-ciation of ideas right away, Bee-thoven explained in 1823 in a letter
79
C.P.E. Bach
Archduke Rudolph
Wilhelm Friedemann Bach
Bettm
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to Archbishop Rudolph, whom headvised the following:
Right at the piano, quickly, fleeting-ly write down your ideas. . . .Through this, not only will yourimagination be strengthened, butone also learns how to fix theremotest ideas in an instant. . . .Gradually, the ability emerges topresent precisely and only what wewish/feel, which is such an essentialneed of noble men.
If Beethoven copied out long pas-sages or special transitions fromBach’s compositions, for study andfor later use, he was following amethod which J.S. Bach had alreadyapplied, who only achieved his sci-ence of composition through thestudy of good fugue writers, and“only through my own reflections,”as Carl Philipp Emanuel Bachreported. Only through the consciousreplication of the creative discoveriesof great predecessors, does the stu-dent reach true knowledge—asopposed to obtuse, rote learning. (Itwould be useless, for example, tocondemn composition students tocopy The Well-Tempered Clavier tentimes over!)
The Art of Four-Voice SongIn Beethoven, this enduring dia-logue with J.S. Bach—and with theworks of Mozart, which took upBach’s discoveries and developedthem—leads to a fundamental fur-ther development in his late compo-sitions.
In an interview with Fideliomagazine,2 Norbert Brainin, theprimarius of the unforgettableAmadeus Quartet (whom we willsee shortly in a film clip), explainedwhere the decisive progress ofBeethoven over J.S. Bach’s composi-tion method, lies:
Beethoven writes in his late quar-tets, a kind of four-voice setting, inwhich the four voices are played,that is, sung, together. All the voicessing something which isimportant—and, that is, all equallyimportant. The balance is perfect;
the voices need not be concernedwith how loudly or how softly theysing, because everything is so perfect-ly composed. The most importantelement here, is the Motivführung[thorough-composition], because themotifs that Beethoven uses, all origi-
80
FIGURE 1. Autograph score, “Wenn ich einmal soll scheiden,” from J.S. Bach “St. MatthewPassion.”
nate from the piece and are relatedto one another.
However, Brainin added,
It must be sung correctly, with theright voice . . . I assume, that a belcanto-trained singer, would recog-nize this immediately.
In order to investigate this ideafurther, we will use the followingmusical examples.
The four-voice choral phrases byJohann Sebastian Bach, appeared inprint in 1784. Carl Philipp Emanuel
Bach became accustomed, by hisfather, he said, “not to see anythingas a master work”; the works were toserve connoisseurs and those eager tolearn the art of composition, to studythe “very special arrangement of theharmony and the natural flowing ofthe middle voices and the bass.” JohannSebastian Bach did not treat his ownstudents with “dry counterpoint,”but rather—after having initiallyworked through the pure four-voicegeneral bass—led them into thechorales, such that he “first set thebass to it,” and then his students “had
to discover the alto and tenor voicesthemselves.” Later, “he taught themto write the bass voice themselves.”
Let us listen to an example of afour-voice chorale, perhaps the bestknown four-voice Bach chorale com-position: “Wenn ich einmal soll schei-den” (“Should I at some timedepart”), from the St. Matthew Pas-sion [SEE autograph, Figure 1]. Wewill hear a performance by theWiener Singverein (Vienna SingingGroup), conducted by WilhelmFurtwängler, from 1954.3 After the“rediscovery” and performance ofthe Passion under the direction of theyoung Felix Mendelssohn in 1829 inBerlin, it has become traditionalamong conductors to perform thischorale a capella, that is, withoutinstrumental accompaniment, andthis is how it is performed in thisexample.
The chorale comes immediatelyafter the presentation of Christ’sdeath, in the Passion, and signifies apoint of self-reflection for the listen-er, on one’s own death and on eternallife. That this moves one’s feelingsmost deeply, is obvious.
Let us now investigate, howBeethoven decisively further devel-oped the art of the four-voice song—which, as we heard in the earlier con-tribution, is shaped by Bach also in avery polyphonic manner.
For Beethoven, the sense andaim of the study of his predecessors,was indeed his own further devel-opment, toward new idea-mani-folds. Beethoven described this veryclearly in a letter to the ArchbishopRudolph, in which he explicitlynames Bach and Handel as the onlytrue geniuses, among his predeces-sors: “The aim of the world of art,as indeed in the whole creation, isfreedom, progress; if we modernshave not the same firmness as ourancestors, yet the refinement of ourmanners has in many ways
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enlarged our sphere of action.”What this expansion involved, can
be heard in two examples, takenfrom Beethoven’s late string quartets.
In autumn 1995, Norbert Brainindemonstrated the thorough-compo-sition method in Beethoven’s latestring quartets, during a master-classof the Schiller Institute in DolnaKrupa, Slovakia.4 I would like toshow a film clip from this masterclass. Let us first listen to a short pas-sage from the slow movement of thequartet Op. 127; the piece should beperformed Adagio molto espressivo[SEE Figure 2]. We will hear it per-formed by the Auer Quartet fromBudapest. [During the demonstra-tion, Brainin remarks: “This is per-fect counterpoint. If you were toldthat it was by Bach, you wouldbelieve it.”]
Now, to the third movement ofthe string quartet in A-minor, Op.132, which was composed in 1825,and, like the quartets Op. 127, 130,and 131, was written for RussianCount Nikolai Galitzin. The move-ment of the quartet is entitled,“Heiliger Dankgesang eines Gene-senden an die Gottheit” (“Holy songof thanks, from a convalescent, to theGodhead”). We have already heardabout the importance of the “Lydianinterval” for the decisive condensa-tion of the well-tempered system, ofthe 24 major and minor keys. Quar-tet Op. 132 begins in the first move-ment (which we are not consideringhere) with a dense series of Lydianand double-Lydian chords, as prepa-ration for the development of the lat-er composition, and especially thisthird movement.5
The “Heilige Dankgesang” is tobe counted among the high points ofBeethoven’s compositional art. Thelistener cannot escape the over-whelming effect of the self-fulfillingdevelopment process. The composi-tion bears autobiographical traits: In
1825, Beethoven was seriously ill,and was forced to interrupt work onthe quartets, for some time. Thecomposition did not leave him alone,as one can see in his conversationnotebooks, how involved with it hewas. This reaches from short sketch-es for the quartet and sketches on thetitle “Dank-Hymne eines Krankenan Gott bey seiner Genesung”(“Hymns of thanks to God, from aninvalid in his convalescence”);“Gefühl neuer Kraft und wieder-erwachtem Gefühl” (“The feeling ofnew strength and reawakened feel-ing”); up to ironic jokes, such as thesketched canon for Danish composer
Kuhlau during an excursion:“Kuehl, nicht lau,” (“Cool, not luke-warm”), which is a pun on the name,composed on the B-A-C-H (Bf A CBn) motif. Beethoven often uses thisform of irony, when he is dealingwith the most serious, even funda-mental problems.
Noteworthy is also the emphasisthat Beethoven lays on the correctreproduction of the dynamic signs ofthe voices in the proof copy. In thefirst performance of Op. 132, hereportedly played a phrase of the sec-ond violin himself, in order todemonstrate the correct expression.After the performance, the violinist
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FIGURE 3. Opening of “Heiliger Dankgesang” of Beethoven’s Quartet Op. 132.
Holz wrote, in Beethoven’s conversa-tion notebook, “I am happy now tobe able to say, that I have received aviolin lesson from Beethoven.” Keepin mind, that Beethoven was entirelydeaf at this time!
The “Heiliger Dankgesang”begins as a simple, four-voice, Lydian
chorale (from F), with a short intro-duction and short contrapuntal inter-ludes, which are redefined in the fur-ther development. Let us first hearthe beginning of the “HeiligeDankgesang,” in a performance bythe Amadeus Quartet [SEE Figure 3].After the first strophe of the chorale,
a new element, a second subject, isintroduced into the composition, apart in D-major: “Neue Kraft füh-lend” (“Feeling new strength”),which initially appears to be in themost marked contrast to the chorale.Then, the chorale returns, in analtered form, with accompanyingvoices after the Andante, thence fol-lowed by the Andante part in alteredform. Finally, the chorale appears athird time, but this time in a com-pletely different form, in an incredi-ble intensification with altered,accompanying motifs which havebecome fully independent voices,and a tightly led, repeated presenta-tion of the chorale through all voices.
Let us consider a short film-clipfrom Norbert Brainin’s presentationon the principle of composition. Inthis part of the master-class in DolnaKrupa, he demonstrated the worksalone, without other players, andmarked the voices of all the instru-ments involved [SEE Figures 4, 5,and 6].
(In the video, Brainin makes thefollowing comments:
—“Now we are in the dominantof D-major.”
—“Now comes ‘Neue Kraft füh-lend.’ ”
—“Then there are trills again, thefirst violin trills so beautifully there.”
—“Now comes a real—such afervent song [measures 67-70]. Hereis written: Cantabile espressivo, butonly in the first violin!”
—“Now the others begin to playalong.”
— “And so forth, it is all themat-ic.”
—“Now, again the same, but in acompletely different form. The con-trapuntal moment here is found inthe second violin, viola, and ’cello. Ican not play it for you as beautifullyas it actually should sound. I canonly play one voice at a time. Butthey are all very independent, and
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FIGURE 5. Cantabile espressivo in the “Heiliger Dankgesang.”
nonetheless together.”)And, in conclusion, the last part of
the “Heiliger Dankgesang,” whereBeethoven has characterized fourvoices with the additional remark:“Mit innigster Empfindung” (“withdeepest, innermost feeling”) [SEE
Figure 7].This conclusion suggests that we
think back once again, to JohannSebastian Bach. In 1738, Bach com-posed a short study on the thorough-bass, which only exists in a copy byone of his students. In this, is written:
The original cause of finish and endof all music, also of the thorough-bass, should be nothing other thanto be for the worship of God andrecreation of the spirit. Where this isnot taken into consideration, is notmusic, but rather a diabolical bawl-ing and mindless singsong.
NOTES1. Steven P. Meyer, “Moses Mendelssohn and
the Bach Tradition,” Fidelio, Summer1999 (Vol. VIII, No. 2).
2. “ ‘As free, as it is rigorous’—Beethoven’sArt of Four-Voice Composition,” inter-view with Professor Norbert Brainin,Fidelio, Fall 1998 (Vol. VII, No. 3).
3. EMI 7243-5-65509-2-6.4. A report on the master-class appears in
“The Principle of Motivführung: Revivingthe Classical Ideal in Slovakia,” Fidelio,Winter 1995 (Vol. IV, No. 4).
5. On the significance of Op. 132, a numberof articles by Bruce Director and AnnoHellenbroich have been published in Fide-lio over the past years. See, for example:Bruce Director, “What Mathematics CanLearn from Classical Music,” Fidelio,Winter 1994 (Vol. III, No. 4); and AnnoHellenbroich and Bruce Director, “OnQuestions of Motivic Thorough-Composi-tion in Beethoven’s Late Works,” Fidelio,Winter 1998 (Vol. VII, No. 4). The latterappears in “The Case of Classical MotivicThorough-Composition,” an appendix to“The Substance of Morality,” by LyndonH. LaRouche, Jr.
84
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FIGURE 7. Final entry of the “Heiliger Dankgesang” chorale.