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Click here for Full Issue of Fidelio Volume 7, Number 3, Fall 1998 INTERVIEW Professor Norbert Brainin, Primarius of the Amadeus Quartet ‘Asfree, as it is rigorous’— Beethoven’s Art of Four-Voice Composition Norbert Brainin, former head of the legendary Amadeus Quartet, turned S N R Beethoven really took the I seventy-five in March 1998. Shortly E after his birthday, he granted a concept, ‘As free, as it is wide-ranging interview, with And then, as the final factor, you add the Beethoven as the focus. The inter- rigorous,’ earnestly. This is his pressure. This is something that the artist view was conducted by Ortrun and first commandment. Bach also must discover, and it is different every Hartmut Cramer on March 19 at wrote in four voices; but, with day. You must learn it, and practice it Elmau castle near Munich, Ger- every day, practice it over again, until it many, where Brainin was holding him, the voices are not works. I can only explain it thus: that one of his master classes for young individual. With Beethoven, when it really works, a tone comes forth string quartets, and first appeared in which is a full expression. I can demon- Ibykus, the German-language sister every voice is different, although strate this with singing, too. Whatever my publication of Fidelio. distinctly stamped by the voice might be, it nonetheless really comes Motivführung. This is his from me. And this voice has true expres- Fidelio: Professor Brainin, in one sion. You need such a tone, in order to of your earlier interviews [with great achievement. play or to sing music such as Beethoven’s Ibykus] you said, that Beethoven’s four-voice composition. great achievement was in four- voice composition; that in this domain he also the case here and there for Mozart. Fidelio: One must practice this technique remains unequalled. Can you elucidate With Mozart the four voices also sing, and virtually every day? that more fully? it is so perfectly composed, that one should Brainin: Every day. For years, this has in Brainin: Gladly. Beethoven writes a type actually just sing it; but, it must be sung fact been the one thing that I really prac- of four-voice composition in his late quar- correctly, with correct voices, correctly pro- tice. It is something which a student of bel tets, in which the four voices are played or duced, and it must really come forth from canto must learn, too. Right from the sung, but each voice is treated entirely the body. I am not a singer—but, I assume, start, one must begin with the correct individually. All voices sing something a singer skilled in bel canto would be able tone, the correct sound; it must ring right which is important—and, indeed, every- to do so immediately. from the beginning. This is the most dif- thing is equally important. The balance is ficult thing for the bel canto singer, too. It perfect; the voices need not concern them- Fidelio: And how is something like this is a technical concern, that his voice be selves over how loudly they sing or how done on the violin? right “there.” Even with my meager voice softly, because everything is composed so Brainin: The whole art consists in this, I can do this. I am not a singer, and of perfectly. The most important element in of course. In order to produce such course I can do it much better with the this regard is the Motivführung, because singing on the violin, you need a certain bow. the motifs Beethoven employs, all cohere technique, a definite bowing technique. The violin responds differently every and derive from the piece itself. First, you must “find” the tone on the vio- day. I do not play gymnastically, never—I Especially in the late quartets, one finds lin; you must discover the correct point of always play solely with expression. When that to be the case; but, naturally, already contact between the bow and string, and I play, I think only about the expression; partially in his earlier works. The same is then, in addition, the correct bow velocity. especially in such works as Beethoven’s 76 © 1998 Schiller Institute, Inc. All Rights Reserved. Reproduction in whole or in part without permission strictly prohibited. late quartets. For this is precisely typical could write fugues. But it’s certain he was third movement, however. There, every- of these works; Beethoven’s four-voice of the opinion that “to write fugues alone thing is arranged more according to Bach composition is absolutely the appropriate is not sufficient.” Beethoven never wrote than to Beethoven, hence polyphonic. music for this technique. fugues for their own sake, but rather But, in Quartet Op. 132, throughout the employed this technique in his composi- whole piece, he employs this technique Fidelio: Returning once more to your tions, in order to achieve a better overall with this sound, the individual sound of remark, that Beethoven is unequalled in result. He learned this afresh from the voices and the harmony, at the same the domain of four-voice composition. Mozart. He combined Bach’s polyphonic time. For this reason, I use the expression Why is this? Many composers, both technique with Mozart’s method of voice- “synthesis” to characterize it. before and after Beethoven, availed them- leading. These are different elements, selves of this compositional technique. which, however, are equivalent; Beethoven Fidelio: In all likelihood, you were play- Why, in your opinion, is Beethoven made a synthesis of unequalled in this art? these different ele- Brainin: Because he really took the con- ments. And, from In Beethoven’s string quartets, the four voices cept, “As free, as rigorous,” which he this, a sound results, inscribed on his Große Fuge, earnestly. which one cannot are very individually distinct singing voices. This is his first commandment, as it were. compare with any The personal action of each single player Bach also wrote in four voices; but, with other. It is not a is the most important thing in the him, the voices are not individual. Bach’s quartet in the har- polyphonic technique produces a certain mony alone—that is performance. All attempts to render sound, a certain music—a great music. not it, not at all. Beethoven’s quartets with a string orchestra But with Beethoven it is such, that his were unsatisfactory. manner of voice-leading contains an indi- viduality, which is not found in the same way in Bach’s polyphonic compositional method. With Beethoven, every voice is different, although distinctly stamped by the Motivführung. Fidelio: So that the greatest possible unity of the whole composition predomi- nates, notwithstanding the greatest possi- ble individuality of each of the voices? Brainin: Exactly. This constitutes the greatness of Beethoven’s music. This is the great achievement of Beethoven. Fidelio: This is nothing but the solution to the old paradox in Greek philosophy, the opposition between the One and the Many, expressed musically. That one can combine as many individual voices or melodies as possible, into one overall con- In 1987, after the death of violist Peter Schidlof, the Amadeus Quartet ceased performing ception. concerts; the remaining members teach and promote young quartets from around the world. Brainin: Yes, this is above all what one must learn, in order to be able to play A good example of what I mean, is ing the late quartets of Beethoven with the Beethoven’s quartets. One practices—it’s the second movement of Op. 127; in fact, Amadeus Quartet from very early on . a bit coarse to say it this way, but—basi- the entire movement. It consists of varia- Brainin: . yes, already in the late cally, one practices other quartets, until tions, of which one passes over into the 1950’s; and indeed all as an integral cycle one has advanced to the point, where you other; one can actually scarcely notice (strangely enough, for the first time in can play those of Beethoven. when one ceases, and the next begins. In Stockholm), and then more and more. the first movement, Beethoven proceeds Fidelio: . when did you “come to Fidelio: Where did Beethoven derive this similarly. But, above all, this type of know” Beethoven, as it were? When did from? How did he learn it? quartet is especially strongly pronounced the idea first arise in you, of what the Brainin: Naturally, he learned this. First, in the second movement, the variation “secret” of these quartets is, and how one as we know, he knew Bach very well; he movement; I don’t see this in the last, must play them? 77 Brainin: That’s difficult for me to say. the Quartets Op. 59. (I am not yet 1970’s, when our quartet was already Somehow, I have the feeling, as if I had entirely certain; in Op. 59, No. 2, there over twenty-five years “old.” At that always known this. Certainly, I haven’t are passages which are just as well com- time, we had played Beethoven quite a always understood it in the way that I can posed as in the late quartets; but, in fact, lot, above all in Italy. For some reason, now explain it. Likewise, I have actually he does not yet always employ this we received many inquiries from Italy, to always understood Motivführung, method here, only off and on. In Op. 95 play Beethoven cycles. Oddly enough, although it wasn’t until much later that I it is similar, especially in the second mainly in Sicily; in Catania, Palermo, first spoke about it.

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