Piano Concerto no 1 in D minor, opus 15 – Brahms
“The Wanderer above the Sea of Fog“ (1818)
_____________
if Beethoven built the Church, along
with Goethe maybe, of Romanticism,
and be assured Romanticism is an
ideology, a moral outlook, a
motivational perspective, much like
the economy is nowadays,
supplanting any more humanistic
imperatives, Brahms put up one of its
Cathedrals, just listen, the First Piano
Concerto is a monument, as mighty
as the Cologne Cathedral musically,
right next to Bonn, incidentally,
Brahms‘ birthplace
with the disintegration of the
supremacy of the Catholic deity
at the onset of the Protestant
Reformation, Luther, Calvin,
Henry Vlll and all that, bolstered
by new discoveries in scientific
speculation, that the earth wasn’t
flat, for instance, that it revolved
around the sun rather than the
other way around, contradictory,
though convincing, voices began
to abound, excite question
in the 18th Century, the Age of
Reason, the Christian Deity fell,
never effectively to be put back
together again, see for Its final
sundering, Nietzsche
in France, after the Revolution,
the Church was officially removed
from political consideration,
countermanding its centuries of
morally heinous depredations,
the United States had already at
its own Revolution separated it
from State
Romanticism was an answer to
a world wherein there might not
be a God, a world with, however,
a spiritual dimension, to respond
to the clockwork universe
envisioned by the earlier epoch,
the Enlightenment, a world where
everything could be categorized,
analyzed, predicted
Romanticism called for the
inclusion of inspiration in the mix,
there are more things in heaven
and earth, Horatio, than are
dreamt of in your philosophy,
as Shakespeare would, for
instance, have it – “Hamlet”,
1.5.167-8
poets became prophets thereby,
if they could manage it, very
oracles, the world was blessed
with, at that very moment,
Beethoven, far outstripping the
likes of, later, for example, Billy
Graham, or other such, however
galvanizing, proselytizers,
whose messages would’ve been
too, to my mind, literal
for music cannot lie, obfuscate,
prevaricate, music cannot be
fake
and then there was Schubert,
and Chopin, Tolstoy, Dickens,
Elizabeth Barrett Browning,
Robert, her husband,
Tchaikovsky, Caspar David
Friedrich, the Johann Strausses,
Byron, Shelley, Keats, whose
artworks, all, are as profoundly
in our blood, our cultural system,
as, if not more so than, our
present information about the
details of our Christian myths,
despite a superfluity of them
even, throughout the long
indeed Middle Ages, and right
up to, and including, the still
fervent then Renaissance, for
better or for worse still, for us
what Romanticism did, and
specifically through the work
of these seminal artists, was
give each of us a chance,
show us how to come
through trial and tribulation,
what a faith does, any faith
it said, here, this is my dilemma,
and this is how I deal with it
for me, Beethoven’s 32nd
Piano Sonata is, soundly, the
epitome of that, but listen to
Brahms put a stamp on it
with undaunted authority
we might be ultimately of no
consequence in an indifferent
universe, they say, but, hey,
this is what we can do, and
do gloriously, while we are
at it
Woody Allen picks up the
purpose in our own recent
20th Century, following in
the earnest footsteps of his
Existential mentor, the much
too dour, I think, Ingmar
Bergman
but that’s another story
entirely
meanwhile, listen
also watch, the conductor here,
a complete delight, is right out
of “Alice in Wonderland“, I
promise you’ll love it
R ! chard
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