VIDEO: The Teaching of Artur Schnabel – Eunice Norton, 1987 (17/18)

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VIDEO: The Teaching of Artur Schnabel – Eunice Norton, 1987 (17/18)

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“The Teaching of Artur Schnabel” (17/18)
by Eunice Norton (rec. 1987)

Part 4d: Brahms

Capriccio in c#, op. 76, no. 5 – full performance at 5:45

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E.N. ON BRAHMS
Many of the great composers were not typical of their era. The less gifted follow the extreme of the style of their times, but the great always possess individuality to such a degree as to not permit conforming to a pattern. The great possess an intellect that encompasses a broad understanding and conceptions that cannot be contained in the small frame of an era. Lesser artists can be comfortably classified by musicologists, but the genius challenges all classification. Incorporating into his work those features of the new style which add scope to his creations, and rejecting the weaknesses, the genius combines everything of value from all times. The result is fabulous musical creation! His work is timeless and universal! Bach, while living in the Baroque world, was not a Baroque composer; Mozart, while surrounded by Rococo art, did not compose in the Rococo style. We know that Beethoven, though living in the Romantic era, was certainly not a romanticist in the true sense.

Brahms was a romanticist, to be sure, but a classicist, also, in a time when the surrender to romanticism was so complete that form was almost an absent quantity. Unfortunately, one does not find the greatest Brahms in his piano music. His chamber music and symphonic works reveal his monumental stature. Here we find Brahms, the great architect — we recognize in his work the perfect balance between the emotions and the intellect, the essential quality of all great art. In the greatest Brahms, the Clarinet Quintet for example, his spirit soars. We drift with him into a rarefied atmosphere and remain suspended to expand and revitalize our concepts of things universal. The two piano concertos are actually symphonic music. His three piano sonatas are all early works. The f minor is extraordinary music (and Brahms was very young when he wrote it), but it resembles more an opus of short pieces than a sonata. Brahms apparently decided very early to be a genuine romanticist in his piano music, limiting his piano compositions to short pieces — expressing a dream world.

Brahms produced dissonances and daring rhythmic irregularities such as were unknown before his time. Flexibility of tempo; rubatos that extend over several bars also were innovations. He frequently invented melodic shapes which took form through the progress of interweaving voices, rather than a melodic line in one voice accompanied by other voices. We can see on the printed page a resemblance of invention to that of Bach, though the result in sound is so very different. (continued: https://www.youtube.com/watch?v=Z9rNl1A_Zx0)

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piano, historic, classical, beethoven, mozart, schubert, schumann, brahms, norton, schnabel, brahms op. 76 no. 5, Eunice Norton (Musical Artist), Artur Schnabel (Musical Artist), Tobias Matthay (Composer), Myra Hess (Musical Artist),

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