Ludwig Van Beethoven (41/47)

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Ludwig Van Beethoven (41/47) Sonntag, 11. Oktober 2020 15.04 – 17.00 Uhr Ludwig van Beethoven Eine Sendereihe von Eleonore Büning 41. Folge: „Frei ist die Tonkunst geboren“ „Frei ist die Tonkunst geboren, und frei zu werden ihre Bestimmung!“ Willkommen zu einer neuen Folge der Beethovenreihe, ich grüße Sie! Dieses zukunftstrunkene Zitat von der Freiheit der Musik ist heute das Motto mei- ner Sendung, in der es, vor allem, um die hohe Kunst der Transkription gehen soll. Geprägt hat diesen Satz Ferruccio Busoni, der große Pianist, Komponist und Arran- geur. Er veröffentlichte im Jahr 1907 seinen „Entwurf einer neuen Ästhetik der Tonkunst“, ein Buch, das die Musikwelt erschütterte. Busoni stellt darin das Dur- Moll-Tonsystem in Frage, er nennt es: „einen Fall von Zurückgebliebenheit“. Er träumt von der Erweiterung des Tonmaterials durch Drittel- und Sechzehnteltöne, er entwirft neue Skalen – lange vor Arnold Schönberg, mit dem er übrigens befreun- det war. Und doch greift Busonis neue Ästhetik der Tonkunst auch zurück in die Vergangenheit, sie beruft sich auf Beethoven, den „romantischen Revolutionsmen- schen“ mit seiner unbändigen „Befreiungslust“. Ludwig van Beethoven (schreibt Busoni) habe, „in einzelnen Augenblicken“ die Zukunft der Musik vorausgesehen. Hier ist so ein utopischer „Augenblick“: Amadeo/Decc Musik 1): Ludwig van Beethoven: Sonate B-Dur op. ca. a 4768768 106 („Hammerklavier“). Daraus: 4.Satz, Ein- 2:30 leitung „Largo“ LC 00107 Friedrich Gulda (Klavier) CD 8 (1968/2005) Track <7> AUSSCHNITT. Von 0:00 bis 2:26, dann langsam raus und evtl. unter dem folgenden Text wegblenden Wie eine aus dem Augenblick entstandene Improvisation wirkt dieser Anfang des letzten Satzes von Beethovens Sonate B-Dur, op. 106. Es spielte: Friedrich Gulda. Für Ferruccio Busoni sind diese wenigen „Largo“-Takte, die als Einleitung die finale Fuge der Hammerklaviersonate vorbereiten, ein leuchtendes Beispiel dafür, dass die großen Komponisten der Vergangenheit – obgleich verankert in den Harmonie- und Formgesetzen ihrer Zeit – doch immer wieder versucht haben, den Boden der Tonalität zu verlassen und „frei aufzuatmen…“. Spürbar, so Busoni, sei dies vor al- lem „…in den Vorspielen und Übergängen“, und: „Neben Beethoven ist Bach dieser ‚Ur-Musik‘ am verwandtesten…“ Ludwig van Beethoven -41. Folge Seite 2 von 12 Busoni war, zu dem Zeitpunkt, als er dies schrieb, längst eine Berühmtheit, vor al- lem als Pianist und Virtuose. Als Komponist hatte er sich zunächst vor allem der Wiederaufbereitung der Musik der Vergangenheit verschrieben. Seine Transkriptio- nen und komponierten Interpretationen riefen massive Kritik auf den Plan. Seine Verleger vermarkteten ihn bereits seit 1894 unter dem Schlagwort: „Bach-Busoni“. Auch einen „Liszt-Busoni“ gibt es, auch einen „Brahms-Busoni“ oder „Chopin- Busoni“. Aber einen „Beethoven-Busoni“, den gibt es nicht. Beethovens Klaviersonaten spielte Busoni stets werktreu nach dem Originaltext. Nur zweimal hat er ein Beethovensches Werk „für den Konzertvortrag eingerich- tet“, wie es so schön heißt; gemeint ist: „verändert“. Eines davon hören wir jetzt – und zwar gleich zweimal nacheinander, zum Vergleich. Einmal spielt Ferruccio Busoni selbst, in einer historischen Aufnahme aus dem Jahr 1922. Zuvor jedoch gibt es Beethovens sechs Ecossaisen Es-Dur in einer modernen Aufnahme zu hören, mit dem Pianisten Holger Groschopp. Capriccio Musik 2): Ludwig van Beethoven/Ferruccio Busoni 10896 (arr): Sechs Ecossaisen Es-Dur WoO 83 2:30 LC 08748 Holger Groschopp (Klavier) (2000/2001) Track <9> Soweit die Ecossaisen Es-Dur, WoO 83 von Ludwig van Beethoven, bearbeitet von Ferruccio Busoni, gespielt von Holger Groschopp. Eine „Ecossaise“ ist ein schottischer Hüpf-Tanz. Komponiert hat Beethoven diese sechs blitzkurzen Tänze im Zweivierteltakt um 1807. Wozu, weiß man nicht. Lange Zeit nahm man an, dass sie ursprünglich für Orchester gedacht gewesen sein könn- ten, für eine Redoute oder einen Ball. Das ist inzwischen widerlegt worden. Und hier nun die Aufnahme von 1922 mit Ferruccio Busoni. Er spielt das Stück, anders als Groschopp, mit einer Wiederholung des ersten Tanzes, ist aber trotzdem um gut eine halbe Minute schneller. Busonis Vortrag ist ungleich kontrastreicher, pointier- ter, lebendiger. Das hört man, trotz der Patina dieser historischen Aufnahme. Naxos Musik 3): Ludwig van Beethoven/Ferruccio Busoni 8.110777 (arr): Sechs Ecossaisen Es-Dur WoO 83 1:59 LC 05537 Ferruccio Busoni (Klavier) Track <3> (1922/ 2004) Als WAF-Datei auf dem Stick © rbbkultur www.rbbKultur.de Ludwig van Beethoven -41. Folge Seite 3 von 12 Ferruccio Busoni spielte die Ecossaisen Es-Dur von Ludwig van Beethoven, eine Aufnahme aus dem Jahr 1922, mit entsprechend hohem Rauschfaktor. Was aber doch deutlich zu hören war: Busoni hat diese Tänze „orchestriert“, quasi vollgriffig in den Ballsaal zurückverlegt, mit pianistisch-dynamischen Glanzlichtern. Das Ritornell kurz vor Schluss hat er in den Diskant verlegt, wodurch der Stretta- Effekt verstärkt wird. Man begreift plötzlich, warum er diese Unterhaltungsmusik, die eigentlich nur noch als Klavierunterrichtsfutter oder als Zugaben-Schmankerl überlebt hatte, überhaupt einer Bearbeitung für wert hielt: Er hat das leichte Stück ernst genommen. Eine Vorgehensweise, die an eine der „Übungsregeln für Klavier- spieler“ erinnert, die er sie selbst einmal formulierte hatte: „Studiere Alles und Je- des, als ob es das Schwerste wäre“. Es gibt noch etliche andere Busonische Merksätze für den Unterricht, die er auch selbst beherzigte. Er hat sie, in Anlehnung an die musikalischen Hausregeln Robert Schumanns, sämtlich in Imperativ-Formeln gefasst. Da heißt es, zum Beispiel: „Ver- binde stets das technische Üben mit dem Studium des Vortrags“. Oder: „Bach ist der Grund des Klavierspiels, Liszt die Spitze. Die(se) beiden werden dir Beethoven ermöglichen.“ Von Bach über Franz Liszt zu Beethoven – so ein Umweg kann wohl auch nur einem professionellen Klavierspieler einfallen! Busoni bezieht sich dabei auf die zahlrei- chen Lisztschen Klavierparaphrasen von Bachschen und von Beethovenschen Wer- ken, die ihm selbst auch zum Vorbild wurden. Mehr dazu gleich. Hier zunächst eine Beethovenbearbeitung von Franz Liszt, gespielt von Ferruccio Busoni: Wieder geht es um ein vernachlässigtes, sogenanntes Gelegenheitswerk, wiederum in einer his- torischen Aufnahme – aber diesmal ohne Knistern und Rauschen. Beethovens Schauspielmusik zu „Die Ruinen von Athen“ hatte Franz Liszt mehrfach beschäftigt, zuerst 1846, dann 1852. Er komponierte gleich drei verschiedene Versi- onen einer „Fantasie“ über die „Ruinen“, die er sämtlich Nikolai Rubinstein wid- mete: für Klavier und Orchester, für Klavier vierhändig und für Solo-Klavier. Warum dreifach? Weil er dieses vergessene Stück wieder unter die Leute bringen wollte. Es fängt trügerisch harmlos an, halblaut, mit einer einstimmigen Melodie. Recht eigentlich pianistisch geht es erst nach einer langen Weile zu, wenn Trilleror- gien ins lustvolle Präludieren übergehen, was den Tanz der Derwische ankündigt. Ferruccio Busoni hat diese „Fantasie über Beethovens ‚Ruinen von Athen‘“ einge- spielt auf einem Welte-Mignon-Reproduktionsklavier: © rbbkultur www.rbbKultur.de Ludwig van Beethoven -41. Folge Seite 4 von 12 Intercord Musik 4): Franz Liszt: Fantasie über Beethovens „Rui- INT 860.856 nen von Athen“ R 126 14:01 LC 05537 Ferruccio Busoni (Welte-Mignon-Klavier) (1907/1988) Track <1> Ferruccio Busoni spielte die „Fantasie über Beethovens ‚Ruinen von Athen’“ von Franz Liszt, aufgezeichnet am 16. März 1907 auf einem Reproduktionsklavier der Firma Welte-Mignon. Welte-Mignon-Aufnahmen sind wie musikalische Zombies. Auch wenn wir wissen, dass Ferruccio Busoni persönlich vor hundertdreizehn Jahren an diesem Flügel-Au- tomat saß und die Lochstreifen bespielte: Es klingt nicht danach. Jenseits von Ton- dauer und Lautstärke kann dieses mechanische Aufzeichnungs- und Wiedergabe- verfahren nur einen schwachen Abglanz der Interpretation spiegeln. Wesentliche Parameter des Klavierspiels, wie die Intensität der Akzentuierung, Pedalisierung, Nachhall, Phrasierung, Farbvaleurs – also fast alle Nuancen der Gestaltung – gehen verloren. Und trotzdem ist diese Aufnahme ein interessantes Dokument, als Bear- beitung einer Bearbeitung: Zu Beginn des 20. Jahrhunderts überformt ein Klavier- automat die Interpretation des Pianisten! Bereits um die Mitte des 19. Jahrhundert hatte das Klavier, als es in den Grand Pia- nos der Firmen Erard und Pleyel seine nahezu perfekte Ausbildung erfuhr, eine zweite Karriere als Orchester-Ersatz begonnen. „L’Orchestre, c’est moi“, diese Pa- role legte der ironische Hector Berlioz seinem Freund Franz Liszt in den Mund, als der begann, sich immer größere Freiheiten herauszunehmen in seinem Umgang mit Werken anderer. Liszt wird zu einem frühen Pionier der Kunst der komponierten In- terpretation. Seine Paraphrasen gehen teils weit hinaus über das, was man bis dato „Bearbeitung“ genannt hatte, er machte die „Transcription“, wie er es nannte, zu einer neuen Kunstform. Ferruccio Busoni schreibt dazu in seinem „Entwurf einer neuen Ästhetik der Tonkunst“: „Jede Notation ist schon Transcription eines abs- trakten Einfalls. Mit dem Augenblick, da die Feder sich seiner bemächtigt, verliert der Gedanke seine Originalgestalt.(…) Auch der Vortrag eines Werkes ist eine Transcription, und auch dieser kann – er mag noch so frei sich gebärden, niemals das Original aus der Welt schaffen. Denn: Das musikalische Kunstwerk steht, vor seinem Ertönen und nachdem es vorübergeklungen, ganz und unversehrt da.“ So- weit Busoni. Das nennt man: Idealismus.
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