Maynard Solomon "Beethoven" Rev.ed. 1998

[Belle]

I'm researching 2 programs for community FM radio that I'm presenting on Beethoven. Currently I'm reading Solomon's most recent study from this eponymously titled book. Something of interest aroused my curiosity and I would like to run it by anybody on these boards who feels equipped to discuss, and I quote as follows:

"His Bonn compositions rarely penetrate the surface of the emotions, perhaps because they correspond so harmoniously with the ideal of the benevolent principality in which they were created: an untroubled aestheticism that exalted abstract beauty and found pleasure in the predictable repetition of graceful patterns and forms"(p.67).

I don't think we should accept this as a mere throw-away line from Solomon. Firstly, how does music 'penetrate the surface of the emotions'? Examples would be useful!

Secondly, Solomon seems to be suggesting that classical music, per se, 'exalts' abstract beauty...through 'predictable repetition of graceful patterns and forms'. That makes it sound rather superficial. I'm wondering what you think he means by this.

Lastly, what could be the (musical) ideal of the 'benevolent principality'?

[Roehre]

I'm researching 2 programs for community FM radio that I'm presenting on Beethoven. Currently I'm reading Solomon's most recent study from this eponymously titled book. Something of interest aroused my curiosity and I would like to run it by anybody on these boards who feels equipped to discuss, and I quote as follows:

"His Bonn compositions rarely penetrate the surface of the emotions, perhaps because they correspond so harmoniously with the ideal of the benevolent principality in which they were created: an untroubled aestheticism that exalted abstract beauty and found pleasure in the predictable repetition of graceful patterns and forms"(p.67).

I don't think we should accept this as a mere throw-away line from Solomon. Firstly, how does music 'penetrate the surface of the emotions'? Examples would be useful!

Secondly, Solomon seems to be suggesting that classical music, per se, 'exalts' abstract beauty...through 'predictable repetition of graceful patterns and forms'. That makes it sound rather superficial. I'm wondering what you think he means by this.

Lastly, what could be the (musical) ideal of the 'benevolent principality'?

The context is: ....they correspond so harmoniously with the ideal of the benevolent principality in which they were created: an untroubled aestheticism that exalted abstract beauty and found pleasure in the predictable repetition of graceful patterns and forms"(p.67).

This simply means that the "classical" form in which Beethoven's Bonn-compostions were cast, were in accordance with the (musical) ideals which were celebrated at that time in Bonn in general, and its electoral court more particularly.
This is not Solomon's opinion, this is a description of the "kind" of music which was expected of (in this case) Beethoven.
But one cannot escape the impression that some measure of superficiality was therefore expected too. Which is in concordance with the function of most of the music Beethoven wrote in Bonn - with exception of the cantatas WoO 89 and 90 all of it was "Gesellschaftsmusik" (music for social gatherings) in one sense or another: "harmonie musik" (the octet opus 103) as accompaniment of a copious meal, Ritterballett (WoO 1) to show off, the trio WoO 37 as music for a family gathering, etc.

"His Bonn compositions rarely penetrate the surface of the emotions", a remark not in the margin, but the very centre of Beethoven's music. Where B got emotional, e.g. in (the opening of) the Cantata on the death of the Emperor, this was not appreciated by court and orchestra - it was (I suspect literally) outside their musical scope.

[Belle]

Thank you for that comprehensive response. Given, as you suggest, that Beethoven was providing music 'to order' and which conformed to a certain classical sensibility, except for the Cantata you mention (and Solomon makes much of that), I wonder how he can have drawn the attention of no less a figure than Haydn, who would not have been interested merely in keyboard bravura. If, as you and Solomon suggest, his music 'conformed' so well then what was it which cried out: 'this man is a potential genius'?

[Roehre]

IIRC one of the pieces shown to Haydn was one of these cantatas.

[Belle]

Just the one piece then? All the more remarkable, IMO

Hadn't Beethoven already been to Vienna for 2 weeks before he composed this cantata? This was at the time of the death of his mother, which was long before the cantata was written. Surely he felt a certain "calling" by going to Vienna, so the sense of destiny was already in place.

Now, the comments Solomon made about classical music and it's inherent superficiality: I wonder why this was a characteristic and how it, in fact, affected Mozart and his compositions (so, not just early LvB)?

[Peter]

The context is: ....they correspond so harmoniously with the ideal of the benevolent principality in which they were created: an untroubled aestheticism that exalted abstract beauty and found pleasure in the predictable repetition of graceful patterns and forms"(p.67).

This simply means that the "classical" form in which Beethoven's Bonn-compostions were cast, were in accordance with the (musical) ideals which were celebrated at that time in Bonn in general, and its electoral court more particularly.
This is not Solomon's opinion, this is a description of the "kind" of music which was expected of (in this case) Beethoven.
But one cannot escape the impression that some measure of superficiality was therefore expected too. Which is in concordance with the function of most of the music Beethoven wrote in Bonn - with exception of the cantatas WoO 89 and 90 all of it was "Gesellschaftsmusik" (music for social gatherings) in one sense or another: "harmonie musik" (the octet opus 103) as accompaniment of a copious meal, Ritterballett (WoO 1) to show off, the trio WoO 37 as music for a family gathering, etc.

"His Bonn compositions rarely penetrate the surface of the emotions", a remark not in the margin, but the very centre of Beethoven's music. Where B got emotional, e.g. in (the opening of) the Cantata on the death of the Emperor, this was not appreciated by court and orchestra - it was (I suspect literally) outside their musical scope.

Solomon's comments imply that the Bonn court was conventional and unimaginative but the Elector Max Franz was a highly cultivated man with a true appreciation of music - Mozart was greatly admired (indeed Max Franz had wanted him as his Kapellmeister) and in the 1789 season at the theatre, 'Don Giovanni' was performed 3 times and 'The Marriage of Figaro' 4 times - (and this just a few months after the fall of the Bastille - so much for an 'untroubled aestheticism!'). I don't see then how Beethoven's cantata was 'outside their musical scope'?

Beethoven's three piano quartets amongst other works also contradict the notion of 'predictable repetition of graceful patterns and forms' - clearly Neefe with foresight had more vision than Solomon with hindsight when he wrote in 1783 'this young genius deserves help to enable him to travel'. Waldstein also recognised the exceptional nature of Beethoven's abilities which made him stand out from a community of other highly talented musicians such as Ries and Reicha.

[Belle]

Solomon's comments imply that the Bonn court was conventional and unimaginative but the Elector Max Franz was a highly cultivated man with a true appreciation of music - Mozart was greatly admired (indeed Max Franz had wanted him as his Kapellmeister) and in the 1789 season at the theatre, 'Don Giovanni' was performed 3 times and 'The Marriage of Figaro' 4 times - (and this just a few months after the fall of the Bastille - so much for an 'untroubled aestheticism!'). I don't see then how Beethoven's cantata was 'outside their musical scope'?

Beethoven's three piano quartets amongst other works also contradict the notion of 'predictable repetition of graceful patterns and forms' - clearly Neefe with foresight had more vision than Solomon with hindsight when he wrote in 1783 'this young genius deserves help to enable him to travel'. Waldstein also recognised the exceptional nature of Beethoven's abilities which made him stand out from a community of other highly talented musicians such as Ries and Reicha.

This certainly accords with my own reading of Solomon and this is the reason why I've posted here. Solomon's seems a contradictory and glib opinion, which raises questions and then doesn't address them. This is why I thought it worth developing on this forum because, in essence, 'predictable pattern of graceful patterns and forms' seems more than a veiled criticism of classical style.

The notion of the non-discriminating audience is also an interesting one. I recently presented a program on Schubert and my research threw up interesting facts about dilettantism in the Viennese salon and the musicologist in question, Otto Bibi, suggested that those who mostly attended these salons had little of what could be regarded as real musical taste. Composers who relied upon the goodwill and financial support of others must have often strode a dual, often conflicting, path between satisfying the musical commission and wanting to fulfill their own musical destinies.

[Peter]

This certainly accords with my own reading of Solomon and this is the reason why I've posted here. Solomon's seems a contradictory and glib opinion, which raises questions and then doesn't address them. This is why I thought it worth developing on this forum because, in essence, 'predictable pattern of graceful patterns and forms' seems more than a veiled criticism of classical style.

It depends whether he was referring to the taste of the Bonn court which as I mentioned was in advance of Vienna for its admiration of Mozart or as you say the classical style itself, which in both cases demonstrates a certain ignorance.

The notion of the non-discriminating audience is also an interesting one. I recently presented a program on Schubert and my research threw up interesting facts about dilettantism in the Viennese salon and the musicologist in question, Otto Bibi, suggested that those who mostly attended these salons had little of what could be regarded as real musical taste. Composers who relied upon the goodwill and financial support of others must have often strode a dual, often conflicting, path between satisfying the musical commission and wanting to fulfill their own musical destinies.

Yes I think this is largely true and Schubert himself complained of the poor taste in the 1820s which was largely a consequence of Metternich's state control over intellectual activities - people simply retracted within their own walls with a consequent spread of amateurism. Salons such as Sonnleithner's were the exception.

[Belle]

Thanks for your comments. In presenting my 2 programs on Beethoven I want to find a particular angle, not just tread the well-worn path of what is known about the composer. Trying to find the 'angle' is proving challenging, unless anyone here has specific ideas. (It will save me 'reading' my way into an angle, though it is a labour of love.) Also, what particular pieces do you think I could use which would be, say, representative of Beethoven's final Bonn years and which show him as a gifted composer before he goes to Vienna and then, shortly after his arrival in Vienna. I'm asking 'what, if any, changes were affected in Beethoven's compositional style as a direct result of his first years in Vienna'. In short, I want people to understand something about Beethoven they didn't previously know (a challenge, but I'm up for it!). Obviously, specific commissions will have something to do with this.

[Peter]

Thanks for your comments. In presenting my 2 programs on Beethoven I want to find a particular angle, not just tread the well-worn path of what is known about the composer. Trying to find the 'angle' is proving challenging, unless anyone here has specific ideas. (It will save me 'reading' my way into an angle, though it is a labour of love.) Also, what particular pieces do you think I could use which would be, say, representative of Beethoven's final Bonn years and which show him as a gifted composer before he goes to Vienna and then, shortly after his arrival in Vienna. I'm asking 'what, if any, changes were affected in Beethoven's compositional style as a direct result of his first years in Vienna'. In short, I want people to understand something about Beethoven they didn't previously know (a challenge, but I'm up for it!). Obviously, specific commissions will have something to do with this.

Well obviously the 2 cantatas, especially the Joseph II (WoO87). The concert aria "Primo amore" (WoO.92) and the very fine 24 variations on Righini's "Venni amore" for piano (WoO65).

With regard to a new angle on Beethoven's background I don't think you could do better than refer to the man who had the greatest influence on him as a boy, his teacher Neefe. The following self analysis gives an inkling of the values Neefe would have tried to impart to young Beethoven:

CHRISTIAN GOTTLOB NEEFE: A SELF-ANALYSIS

I have a lively imagination, quick emotions, a weak memory, good judgement and feeling for all that is morally and physically good and beautiful; however these feelings are not always consistently warm.

I admire the religion of the heart, love mankind, hate evil, tolerate mistakes of understanding and excuse weakness of heart. I am diligent, sympathize with those who are unfortunate, but am somewhat hardhearted toward the poor, who are such primarily out of laziness.

I respect the fair sex. My heart tends generally toward friendliness, however I am of late less inclined toward easy friendships, because certain so-called friends have betrayed me thus making me somewhat distrustful and reserved. Toward friendship which has withstood the test of time I am loyal, active, open-hearted and sympathetic. I allow every man his personal liberty.

I do not stand on ceremony, etiquette or any forms of flattery. Because of this, I am sometimes regarded (mistakenly) as peculiar or insulting. I have nothing to do with flatterers and gossipmongers.

I love my family and maintain strict discipline and or-der in my home. I require propriety and order from all with whom I have dealings.

In marriage I am also somewhat reserved. I prefer not to have my my general responsibilities and productivity impeded by family and friends.

I am generally very effective, am never lazy or idle, howver mechanical work is practically fatal for me. I must be in the mood to compose. The work which I am at times forced to do without being in the mood are such that I can hardly recognize them later.

I have a tendency toward solitude and the bucolic life. I am both sad and happy, however the former more than the latter. Both of these moods can change very quickly in me, as is the case with most hypochondriacs. In this frame of mind I often see things in the wrong light. I have also at such times an exaggerated sense of thrift, though otherwise money is relatively unimportant to me.

The weather has an especially stong influence on my sense of well-being. At times I am quite sociable, other-times rather cantankerous. Sometimes I am a bit cranky and bitter in expressing myself.

Social standing and titles are unimportant to me, especially when they fail to enhance their owners effectiveness in the world. Honour is above all for me the driving force behind all my dealings. I am however, at times either too proud or to modest; at times too clever, at times too fearful. In one moment I can undertake the most difficult of tasks, and at another moment I lack the confidence even to compose a small minuet, or write the cobbler a letter.

I gladly acknowledge the achievements of others, whether they are equal to or superior to my own, even those of my enemies.

I applaud high ideals, courageous negotiation, pictures of child-like or parental affection and rewarded honesty. I cannot bear either excessive pedantry or one-sided taste.

I am gladly independent, but without exaggerating my own importance. Concerning things of whose truth I am convinced or believe myself to be convinced of, I will heatedly defend, sometimes extremely so.

I have an excellent memory for good and charitable deeds from which I have benefited. I am glad to return these favors according to my strength and when I find an opportunity to do so.

I am quick to anger and easy to offend when being made fun of, by attacks on my honor, by interference in my affairs, and by professional irresponsibilitiy; on the other hand I am also easily assuaged and easy reconcile differences. I do not easily make the first move when I have been offended, but certainly when I have offended. I am no vengeful and never allow the whole to suffer for the sake of my private offences, especially when it de-pends wholly or partly on my effectiveness. I hade taking sides. My trust in those who have intentionally betrayed me is difficult to restore.

I like to drink wine, at times more than is probably good for my health; on the other hand however, I refrain from drinking when I have business or work to accom-plish. Otherwise, I am well able to limit my needs according to my means. I am not tyrannized by current fashions.

The great men of this world I admire, if they are de-cent and good; I respect their laws when they promote the best among my fellow men; I take care to keep my distance from them however. I despise bad regents more than bandits.

I strive for the increase of my knowledge and improvement of my heart, although here, of course, I struggle with personal weakness, negligence and passions.

C. G. N.

[Roehre]

Well obviously the 2 cantatas, especially the Joseph II (WoO87). The concert aria "Primo amore" (WoO.92) and the very fine 24 variations on Righini's "Venni amore" for piano (WoO65)..

The latter (WoO 65, dated 1790/'91) are an especially very good example, as until recently (i.e. until a 1791 printed copy of these variations emerged only in 1983 or so) it was assumed that B had thouroughly revised the work before (re-)publishing it in 1802. It was beyond belief that in 1790/'91 B would have been able to produce such an important and (relatively) ripe work.

A fine set, with many of the beethovenian fingerprints we know from (much) later works, e.g. these are character variations, not (as was usual in that time, and as e.g. the Dressler variations WoO 63 are) figurative ones, the use of sfz, ff and pp in a beethovenian manner, the changing keys (many variation sets at that time were in one key + their minor or major parallel), and IIRC the changing time signatures on top of that.

[Belle]

This is superb - thanks, both of you, so very much. I will chase up some of those pieces as my local conservatorium has a very sympatisch (!) librarian and the occasional bunch of flowers works wonders!!

The Neefe connection. Solomon has things, of course, to say about that. From what you've suggested, Peter, it's almost as though Neefe is that surrogate 'father-figure' replacing the recalcitrant and unpredictable Johann.

Those familiar Beethovenian compositional traits - that will be extremely useful. If anyone can recommend a further, more scholarly examination of this era in Beethoven's life it would be appreciated. (I was able to get excellent advice about Schubert from another forum and that's where the recommendation for the excellent article by Biba came from.) People don't want to be bored by what they know already and I'm prepared to do the hard yards so that, at least, they stay awake!! Vielen dank.

[susanwen]

If possible, please post a link to your program so we can all enjoy it.
- Susan

[Belle]

Thank you, Susan, for your interest in the programs. I'll see what I can do, though I'm no technological expert!! It's hard enough doing my own panel operating at the university radio station!!

[Belle]

I've just read these lines in Solomon's "Beethoven" which have brought me to my knees:

"Am I then nothing more than a music maker for yourself or the others?"(p.85)