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Beethoven's Tenth Symphony
March 22, 2009
Johannes Brahms
(May 7, 1833 – April 3, 1897) , composer and pianist, was typically
regarded as one of the leading musicians of the Romantic period. He is
sometimes grouped with Johann Sebastian Bach
and Ludwig van Beethoven
as one of the Three Bs. Moreover he is considered the successor
of the latter. In fact some have insulted him by calling his
Symphony No.1 in C minor, Op. 68, as “Beethoven’s 10th.” Of
course if someone suggested Beethoven’s First as Mozart’s 42nd he will
find himself tied at a stake of fresh pine with a little bonfire
starting underneath.
It is undeniable that Brahms was influenced by Beethoven. But who
has not been influenced by predecessors especially when they are
successful? But considering his First as mere follow up work is
not only insulting but insane. Brahms produced what this humble
listener considers the best piece of music ever written. We had
to wait for the next generation of composers and the next century from
what was then the Russian Empire or the abandonment of tonality to
produce something worth keeping in the same play list with it.
But so far nothing in this genre has been produced to follow the fourth
movement.
Lets first deal with the concept of romanticism. From the period
when he lived perspective, of course Brahms was the ultimate
romantic. This movement is typically considered between 1815 and
1910, very different from the other art forms romantic periods.
Our friend, Johannes worked smack in the middle of that period.
In music, romanticism does not refer to the common definition that some
truth can be obtain by emotions, not only from axioms. Romantic music
referred more to its ability to infuse passion throughout the
composition by not preparing the listener to what comes next, but
rather explode in a combination of themes. The innovation was in
the use of range, maybe even the abuse of certain instruments, and
transitions within themes and movements while maintaining a unity in
the composition. Music became narrative as opposed to
chromatic, like in the classic period. Tonality and harmony became its
preferred language.
When you listen to the First you get it much more than with any other
piece. How the first movement builds the theme, introduces the
characters, and sets the stage for the main plot. The second
movements presents the conflict. Some characters are not seen
anymore and the mood goes on. The third keeps building suspense
and goes quickly maintaining its link to the other two. And then
comes the magnificent fourth. The violins break the monotony and
make you jump to the edge of the seat. The suspense grows, and
grows. The characters from the first movement come back and kill
the ones from the second and third. But nothing can prepare you
for the finale, besides I don’t want to spoil it.
Columbia University has a fantastic free recording available here
right, listed right after Beethoven’s Seventh for nothing else than
alphabetical reasons. My personal favorite is Karajan’s
interpretation with the Berlin PO as part of the 4 Symphony collection
(ASN: B000007ODY).
I like to think of Beethoven’s Ninth as Brahms’ Zeroth, but then again
why will that be any more flattering to either one of them.
Enjoy
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