Click here for Full Issue of Fidelio Volume 14, Number 1-2, Spring-Summer 2005 INTERVIEW ‘The Motivführung principle is quite literally a gift from God...’ An interview with Norbert Brainin Haydn, Mozart, and Beethoven, LaRouche, including several in the United sponsored by the British Govern- States itself. He also visited LaRouche in ment through the organization prison, and there, under those otherwise known as “Die Brücke” (“The unfortunate circumstances, he discussed with Bridge”), the public’s enthusiasm LaRouche his own work on Haydn’s funda- was such that the mental discovery of the compositional prin- “the walls nigh ciple known as “Motivführung” (“motivic What one has got to caved in.” So be- thorough-composition”). LaRouche respond- get across to the public gan the worldwide ed with enthusiasm, and then wrote, from EIRNS/Stuart Lewis is, first and foremost, career of this ex- his prison cell, “Mozart’s 1782-1786 Revo- he late Norbert traordinary group, lution in Music”* in which he developed TBrainin, first violin- the idea behind the which ended only the concept further. This led to a fruitful ist of the legendary composition, through with the quite dialogue, out of which came musical semi- Amadeus Quartets, gave form and development unexpected death nars by Brainin and philosophical writings many interviews to Ibykus of Peter Schidlof by LaRouche on this precise issue, which is and Fidelio over the past of the overall concept. in the summer of so critical to the future of Classical music. 20 years, but none perhaps 1987. Thereafter, Unforgotten also is Brainin’s involve- so dense as the one below, the Quartet was ment in the LaRouche campaign for so- which may perhaps be seen as his artistic dissolved, but Norbert Brainin continued to called Verdi concert pitch of A=432 Hz. Testament. share his deep knowledge of Classical art Brainin gave several lecture-demonstrations, The fact that in 1947, Brainin, then a through sonata recitals, seminars, master where he demonstrated the superiority of the young violinist who looked to make a great classes for young artists, and more especial- lower, Verdi pitch, over the higher, and name for himself as a virutoso soloist, delib- ly, through the Brainin Foundation, which quite arbitrary “Karajan pitch.” In Decem- erately decided to focus uniquely on the he set up shortly before his death. ber 1989, shortly after the Berlin Wall fell, string quartet, clearly points to those quali- Brainin gave a “Beethoven Matinee for ties of musicianship and character that led Strength of Character German Unity” in the West Berlin him to place the musical idea, above all else, Brainin showed remarkable strength of Musikhochschule before 1,000 people, 800 as the raison d’ˆetre of a true artist. character from his early youth, when, in of whom had come from East Germany, The countless concerts the Amadeus 1938, owing to his Jewish background, he and entered free of charge. Quartet gave worldwide, their numerous fled from Vienna following the Nazi Why Germany, and “German music,” recordings, many of which have won the Anschluss. In England, as a refugee, he forever remained so critical to the Amadeus highest critical acclaim, most especially for became acquainted in an enemy-alien Quartet, and how this Quartet, whose their interpretation of the late Beethoven internment camp during the war with two members remained constant for nearly 40 quartets, are very impressive proof of how of the men who were later to join the Quar- years, “tracked down” the secrets of inter- Brainin and his colleagues (violinist Sieg- tet. In the 1980’s and 1990’s, on learning preting Classical music, is the subject of the mund Nissel, violist Peter Schidlof and that Lyndon LaRouche was persecuted by interview below, which Norbert Brainin ’cellist Martin Lovett) took up the chal- the U.S. neo-conservatives, and sentenced to gave Ortrun and Hartmut Cramer in Lon- lenge to “get under the listener’s skin” with prison after a show-trial in 1988, Brainin don in July 2004. Classical music, and uplift the soul. spoke out unreservedly in his defense. In Hamburg in 1950, when the Quartet Thus, seconded by the pianist Günter __________ made its German début with works by Ludwig, Brainin gave solidarity recitals for * Fidelio, Winter 1992 (Vol. I, No. 4). 116 © 2005 Schiller Institute, Inc. All Rights Reserved. Reproduction in whole or in part without permission strictly prohibited. Fidelio: Mr. Brainin, relative to a half- absolute sensation. In your first Ibykus der tyrants. Other great works, such as century ago, there have unquestionably interview—20 years ago now!—you Beethoven’s Fifth Symphony or his been major changes in cultural politics. said: “The public was so enthusiastic, Eroica, were misused by the Nazis for Just after the war, it seemed quite obvi- the walls nigh caved in!” Why were propaganda purposes . .. ous that the task was to ennoble man, as people so excited then about Classical Brainin: . .The British used Beethoven Schiller would put it, through Classical music? for their own purposes, too . That is art, and create a climate of cultural opti- Brainin: Naturally, it had to do why so great a craving for an adequate mism throughout society. above all with the times, and the politi- presentation of Classical art, and—in That so-called pop music, which is cal circumstances. Germany had practi- Germany, especially—for great Classical utterly shallow, might ever be taken cally been destroyed, and its people had music, was quite understandable at that seriously, as it now is, or that lost all confidence. The horrors of war time. “Crossover” music would become were all too fresh in people’s minds. But, the enthusiasm unleashed by acceptable—by Crossover, I mean Despite all the horror, people under- our Hamburg recital in 1950 naturally “crossing” major Classical works with standably had a great hunger for Classi- also had to do with our being Jews. That Rock-slop—would have struck one as cal music, beauty, and art, in general. certainly played a big role. People simply out of the question in the 1950’s thought, “Classical art will create the or 1960’s, when the public would have Fidelio: The Nazis had banned not environment for peace. For peace rejected out of hand, any such attempt only so-called degenerate art, but a among all men, and most especially, for to make a mockery of art. number of Classical works that they peace between the Jews and Germans.” The public had a more or less unfail- considered dangerous, such as Schiller’s Apart from ourselves, there were other ing sense for how great art should be Don Carlos (“Give us freedom of Jewish artists who, right after the war, interpreted. thought!”), as well as his Wilhelm Tell, commited themselves to reconciliation, When, in 1950, you returned to the as Hitler and Goebbels rightly saw these notably Yehudi Menuhin. Today, continent, Germany to be precise, with the works as a call to overthrow and mur- among musicians, Daniel Barenboim newly found- has endeavored to do this. Such artists ed, as yet un- have made an absolutely incredible con- known Ama- Apart from ourselves, there were other Jewish tribution to understanding among peo- deus Quartet, artists who, right after the war, commited ples and nations. Barenboim brings your Ham- Muslims, Jews, and Christians together, burg concert themselves to reconciliation, notably Yehudi especially of course Israelis and Pales- unleashed an Menuhin. Today, among musicians, Daniel tinians; he organizes concerts with them, where he plays and conducts. Barenboim has That’s exactly the right way! One has endeavored to got to show that Classical music and art do this. .. belong to all men, irrespective of their cultural background. This understand- ing, for which Barenboim, particularly amongst the youth, has acted in so exemplary a fashion, is critical. The more so, as these efforts have tended to become rather more feeble these days, compared to what was done just after the war. Fidelio: The Nazis, and after the war, their Anglo-American sympathizers, were very concerned at the incredible Barenboim brings Muslims, Jews, and influence of what Schiller refers to as Christians together, especially Israelis and the “Sublime,” a moral power which Palestinians. That’s exactly the right way! Wilhelm Furtwängler, with “his” Berlin Philharmonic, was able to get across in a __________ Top: The Amadeus Quartet (left to right): Peter Schidlof, This interview first appeared in Ibykus, the Siegmund Nissel, Martin Lovett, and Norbert Brainin. German-language sister-publication of Top, right: Yehudi Menuhin. Left: Daniel Barenboim. Svensk Konsertdirektion AB Fidelio, in July 2004. 117 very unique way. Furtwängler repre- by culture in our society. ning of a work. The best example of sented, beyond any doubt, the “true That is one aspect that the Norbert how an artist can, in the very first Germany,” including during the Nazi Brainin Foundation, which I’ve just instant, “grab” the listener’s attention, period, and of course after the war. The established, intends to change. The and “tune him in” to the way the entire Anglo-American “re-educators” knew Foundation aims at rooting out, as it work will proceed before him, was Wil- that only too well; they, then as now, were, the flaws in interpreting Classical helm Furtwängler. The tone was there, wanted to promote totally different works; in other words, flaws that have straight off, and his famous or, if you character traits among the Germans, to do with “making music” and inter- will, notorious, “attack,” was the text- than the Sublime. preting it, which I would like to shift book example of how a conductor can Brainin: In respect to the Sublime, over into a Classical direction.