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Reviving the Classical Ideal in Slovakia

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Reviving the Classical Ideal in Slovakia Click here for Full Issue of Fidelio Volume 4, Number 4, Winter 1995 Prof. Norbert Brainin (left) speaks with the Schiller Institute’s Anno Hellenbroich, while the Moyes Quartet rehearses. Dolna Krupa Castle Prof. Brainin plays with the Moyes Quartet. EIRNS Reviving the EIRNS/Anno Hellenbroich Classical Ideal in Slovakia by Elisabeth Hellenbroich nly an hour’s drive from the he “made visible” the fundamental given by Dr. Brainin and pianist Slovakian capital Bratislava principles of motivic thorough-com- Dr. Günther Ludwig in the Prima- Ostands Dolna Krupa Castle, position (Motivführung) in Classical tial Palace of Bratislava, was spon- the former summer residence of the musical composition, especially in sored by the Schiller Institute, the Brunswick family, which was influ- regard to the works of Ludwig van Slovakian “Solupatricnost” Founda- ential in Ludwig van Beethoven’s Beethoven. The three-day musical tion, and the Slovakian Schiller artistic efforts. There, on Sept. 20-22, seminar, concluding with a concert Foundation for the Protection of Life something took place that will go and Human Rights. The inspiration down in the annals of the history of for this musical seminar, however, as Twentieth-century music. Schiller Foundation head Dr. Josef The first violinist of the leg- THE PRINCIPLE OF Miklosˇko emphasized in his greet- endary Amadeus Quartet, Prof. ing, came from Lyndon LaRouche, Norbert Brainin, had his first oppor- Motivführung who one year earlier was the fea- tunity to hold master classes with tured lecturer at a week-long student two leading quartets, during which seminar with 150 young people from 57 © 1995 Schiller Institute, Inc. All Rights Reserved. Reproduction in whole or in part without permission strictly prohibited. eastern and western Europe, who met in Smolenice, a town not far from Dolna Krupa. Miklosko said that it was LaRouche’s hope that this project would develop into an insti- tution of quartet master classes for young artists from East and West. Anno Hellenbroich of the German Schiller Institute presented an overview of the purpose of the three- day musical seminar. Following the production of an initial documentary film of a master class held in 1993 by Norbert Brainin with the German Henschel Quartet on the principle of motivic thorough-composition in EIRNS/Anno Hellenbroich Haydn and Mozart, the task now was EIRNS/Anno Hellenbroich to document this principle more extensively on film, using as examples Beethoven’s String Quartet Op. 59, No. 2, and his late Quartet Op. 127 in E-flat major. This should provide an opportunity, especially for the young artists present, to come to grips with the crucial questions of the nature of a Classical work of art and its adequate interpretation—a kind of knowledge that we are in danger of losing altogether. Beethoven scholar Dr. Ballova reported on the close connections between the Brunswick family and Beethoven (local legend has it, that Left: with members of the Auer Quartet. Beethoven composed his “Moon- light” sonata in Dolna Krupa), and drew a compelling picture of Bee- thoven’s influence on music-making been very close to my heart. For a that they haven’t the slightest under- in Slovakia. Such influences included long time I have been carrying it standing of the problem. Yes, they Beethoven’s close collaboration with around inside me, and for a long have written a lot about it, but they Nikolas Zmeskall, and the important time this idea found no echo with are not dealing with the question in efforts of the Pressburg Liturgical anyone else.” The one person who an adequate way.” Music Association in preparing a did grasp the importance of the Motivführung, Brainin explained, good reception for Beethoven’s Missa Motivführung of Haydn, Mozart, and is a watershed in the history of Classi- Solemnis. Beethoven, Dr. Brainin continued, cal composition. What is meant by was Lyndon LaRouche. “That is this term, is that the work is oriented Making ‘Motivführung’ what unites us and brought us to one single idea, thereby lending together. Lyndon has under- unity to the composition as a whole. Visible stood the importance of Motiv- Haydn, in his Op. 20 “Sun” Quar- Professor Brainin then took the führung in Haydn; Mozart under- tets, had Motivführung preconsciously stage. “Actually, the reason why I am stood it—but when we look at the in mind; but this only first became here, is to make Motivführung visible output of present-day Haydn and fully conscious to him in the six quar- to you. This question has always Mozart scholars, we must conclude tets of Op. 33. Mozart, who inten- 58 in an interview, for the first time reflects Beethoven’s “conscious” Left: with the Moyes Quartet. work with the principles of Motivführung that he had adopted from Haydn and Mozart. At the same time, this work clearly points in the direction of Beethoven’s late string quartets, all of which are built upon “a single foundation” and are connected to one another as Right and below: a “motivic unity.” In the Op. 59, Prof. Brainin No. 2, Brainin emphasized that coaches the everything can be derived from the Istropolitan Trio very first measure—from the very from the Bratislava first interval, a fourth. Whereas the College of Music. EIRNS/Anno Hellenbroich second movement must be played correctly with an articulated legato, Brainin especially pointed to the third movement, with its “Russian theme,” a theme which, as it were, met Beehoven’s own idea half-way. Using passages from the Op. 59, No. 2, Brainin showed that Motivführung is derived from mutu- ally related variants—“derivatives” of a single Motivführung idea that is heard in the initial measures and in the “Russian theme.” For the afternoon session, Brainin h c i held a second master class, working o r b n e with the Moyzes Quartet on Haydn’s l l e H Op. 33, No. 3, and Schubert’s o n n A / “Death and the Maiden” Quartet (D S N R I minor, D. 810), and quite visibly E demonstrated the principles of artis- tic interpretation. This is not simply sively studied Haydn’s quartets, and they are great philosophers.” a matter of playing nicely according adopted this Motivführung method Two works by Ludwig van to the rules; rather, one must, as he and developed it further. “Beethoven Beethoven were the focus of the fol- put it, be “free within certain adopted the method from Mozart, lowing master classes which, ending bounds.” One must play strictly in a and once said of himself: Before I each evening with a concert, Brainin certain sense, yet freely at the same knew this method [of Motivführung], held with the leading Slovakian time. I could not consider myself to be a Moyzes Quartet (which has been A young trio from the Bratislava fully developed composer.” Motiv- together for twenty years), and with College of Music, which in the führung, according to Brainin, “is a the quite young, but extremely evening performed works of the unique revolution. It has implications promising, Hungarian Auer Quartet. composers Suk and Martinu, played for science, poetry, political policy, The master classes began with so impressively, that on the following and philosophy in general. Haydn, Beethoven’s Op. 59, No. 2, impres- day Brainin held a master class with Mozart, and Beethoven comprehend- sively performed by the Moyzes them, too. ed it on the basis of their own inner Quartet. This is a product of the On the second day, Brainin creative knowledge. For, composers “middle” period of Beethoven’s cre- worked with the Auer Quartet on are indeed scientists—not scribes— ative life, and, as Brainin remarked Beethoven’s String Quartet Op. 127 59 in E-flat major, which, in the open- ing measures, marked maestoso, pre- sents, as it were, the motivic exposi- tion for the entire cycle of late quar- tets. Brainin, referring to the motivic kinship of the work’s movements, let the Auer Quartet play the entire piece with little interruption, since the excellently educated young artists presented this exceedingly difficult piece in such an impressively artistic way. To give unity to the course of thinking over the three days of semi- nars—the audience included guests EIRNS/Anno Hellenbroich from Slovakia, a leading musician from Austria, and guests of the Schiller Institute from Germany, EIRNS/Anno Hellenbroich France, and Italy—the renowned first violinist took out his beautiful Stradivarius and, using examples from the Op. 132, the Op. 130, and the “Große Fuge” Op. 133, delivered his own presentation of the principle of Motivführung, demonstrating Above and right: practically all the instrumental voices Rehearsal and on his own fiddle, and also singing in performance by the order to indicate crucial contrapuntal Auer Quartet. figures. “These compositions,” Brainin said, “are all built on the same foundation, as a single house. If they had had separate foundations, the house would have been con- EIRNS/Anno Hellenbroich structed illogically.” Plunging into the Op. 132, Brainin showed how all motivic elements—i.e., the Motiv- formed, in a contrapuntally altered ularly striking that the recitative führung of the entire work—are con- form, into the key of D major—and played by the first violin contains tained within the first sixteen mea- so is subtitled “Feeling new echoes of the Ninth Symphony. sures. He showed that, beginning strength.” Beethoven is now work- Brainin followed this up with a with the first violin’s line, which ing with the interval of the fifth. demonstration of the Op. 130. resolves upwards with a half-step, This is, as it were, “his poetic license “You’ll notice where the similarities followed by a leap of a sixth (Ds-E- to resort to inversions.” In the are,” Brainin said, and commented C-B), “derivative forms, and finally Andante con moto ma non troppo that the first movement, adagio ma intervalic inversion of the motivic (“Feeling new strength”), Beethoven non troppo, is often performed much elements, are taken up in the work- wrote cantabile molto espressivo only too off-handedly.
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