DAILY DOSE of BEETHOVEN (July 23, 2020)
We could not approach the question of Bach through Beethoven without addressing Johannes Brahms (May 7, 1833 – April 3, 1897). This man took it upon himself, as his personal responsibility, to defend and promote the entire history of music. He composed his Fourth Symphony at a time when music was becoming increasingly irrational and arbitrary.
There may be Bruckner fans amongst our readers, but Brahms characterized Bruckner's orchestral works as "Symphonic Boa Constrictors" (and we do not think it was out of jealousy). Brahms felt he had to establish a new level of bare-bones rigor!
This post does not encounter the complexities discussed in the C Minor Series. Brahms kept it simple, yet profound. The “Symphony No. 4 in E minor, Op. 98”, premiered on October 25, 1885 in Meiningen, Germany, is what we might call an experiment in the minimum-maximum principle. In geometry, the circle has that quality, because it contains the maximum area, with the minimum circumference. That circumference maintains a constant curvature, and is known as isoperimetric (always the same perimeter). That's why we make wheels round, and not square. In three dimensions, the sphere contains the most volume, with the least surface area. If you have ever seen a shot tower, they used to pour molten metal from a high tower. By the time it reached the cooling water below, it had taken on a spherical form. Our universe believes in this maximum-minimum principle, and practices it all the time.
In music, arbitrary freedom, to do whatever you please, can lead to chaos. Brahms sets out to realize the maximum freedom and creativity, by accepting the greatest restrictions, in a minimum of thematic material. In life, we often don't have a lot of options, and we have to develop freedom out of necessity. We work with what we have.
The first movement of his Fourth Symphony is based on a simple inversion of two notes—A major third down, B-G, followed by a minor sixth up, E-C. It is followed by another third down—A-F#, and sixth up D#- B. That's it.! That's the theme! How mundane can it be! Or is it?
It's geometric construction is unique and Brahms takes it from the most advanced source, the late Beethoven from the development of the slow movement of Beethoven's Hammerklavier sonata. (See posting of May 21st for the entire movement).
The included short audio compares them: https://drive.google.com/…/16GaUA7B9Xpb1gdJKZs5Gv40v7…/view…
Brahms fourth movement is based entirely on Bach. He revives the ancient form of the “Passacaglia”—a real tour-de-force in maximum-minimum, and freedom necessity. The “Passacaglia” consists of the same short bass line, repeated again and again. The composer must build variations over it. He has a limited sphere in which to operate. It can be an easy out in the hands of a poor composer. To do it well, is the mark of genius.
In an early Cantata No. 150–“Nach dir, Herr, verlanget mich, BWV 150”, Bach ends with a “Cicconia” (similar to a Passacaglia). The repeated bass line is A AB BC C DEE' A. Brahms played the Bach for his friend Joseph Joachim one day, and asked him what he thought of it as the basis for the Finale of a symphony. Joachim did not answer. He knew Brahms had already decided to do it.
Brahms changes the key, and adds the Lydian or tritone interval—E F# G A A# B B' E. Those 8 notes repeat at least 30 times, including in E major. (The same audio compares the original Bach with Brahms. Please listen to the audio to follow the discussion.)
Bach and Beethoven were bookends for Brahms. They were his guardian angels. He had a portrait of Beethoven over his piano, looking over his shoulder as he played; and a portrait of Bach over his bed, looking out for him as he slept.
If you wish to have some fun with friends who did not know the work, play the first 3 minutes or so, and ask them if the piece seems to be wandering. They will often answer yes. Once they can access the “Passacaglia” bass line, they will hear it with different ears.
We provide videos of the first and last movements of Brahms' Fourth Symphony.