VIDEO: The Teaching of Artur Schnabel – Eunice Norton, 1987 (18/18)

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VIDEO: The Teaching of Artur Schnabel – Eunice Norton, 1987 (18/18)

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“The Teaching of Artur Schnabel” (18/18)
by Eunice Norton (rec. 1987)

Part 4e: Brahms (continued)

Romanze in F, op. 118/5 (0:18)
Capriccio in b, op. 76/2 (5:12)

*

E.N. ON BRAHMS (continued from: https://www.youtube.com/watch?v=Z9rNl1A_Zx0)
Brahms did not effect harmonic and rhythmic freedom through the elimination of key signatures or bar lines, as is often the practice of the composer of today. He apparently felt no constraint working with the formalities of orderliness. Bold modulations, startling rhythmic combinations, and the lavish use of syncopation gave the music of Brahms a new sound. With a sense of complete freedom, his fancy took flight and his musical ideas took shape.

I think of Brahms as bold, robust, impassioned. He did paint magnificently with large strokes and rich colors. But there are other and not less frequently encountered sides to Brahms’ nature. The tender Brahms, the spiritual Brahms, and the elusive Brahms. The fancier of visions — when all realities cease to exist, only visions in sound exist — I know of no other way to describe it, a quality unique to Brahms.

There are many crude performances of Brahms’ music. Many notes and much sound seem at times to confuse the interpreter. In the music of Brahms there is great breadth which is mistaken for bombast; and a rich, full emotional content that is mistaken for sensuality. Productions become clumsy and thick. This is a great pity, for Brahms deserves the finest and most sensitive attention to detail. The same attention to detail must be employed by the interpreter if the beauty of the music is to be projected.

Schumann, form the first, recognized in Brahms a great musical genius. He was in a position to tell the music world about him, and he did so without hesitation. In “the Life of Clara Schumann,” I came across the words of Schumann after he had heard Brahms for the first time:

“This month brought to us a wonderful phenomenon in the 20-year old Brahms from Hamburg. Here once again we have one expressly sent from God. He played his own compositions to us — which showed boundless fantasy, fervor, intimacy of feeling, and masterly form.”

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