Piano Concerto no 2, opus 83 – Brahms

by richibi

1024px-Notre_Dame_de_Chartres.jpg

      Chartres Cathedral

          _____________

if Brahms’ 2nd Piano Concerto is, to my 
mind, the last one of the Romantic Period,  
Beethoven’s First is, accordingly, the first
 
I thought it, therefore, instructive to pair 
them 

Beethoven, impelled by ideological 
speculations, built not only a variation
on what had come before, music as 
entertainment, a reason to dance, but
gave it a greater, which is to say, 
philosophical, dimension

by extending the reach of the cadence
beyond the usual metered rhythm, 
sending the melodic statement 
beyond an otherwise constricting bar 
line, Beethoven turned a lilt into a 
sentence, a ditty into a paragraph   

Shakespeare does the same thing to
poetry, for instance, with iambic 
pentameter devoid of rhyme

         “But, soft! what light through yonder window breaks?
          It is the east, and Juliet is the sun.
          Arise, fair sun, and kill the envious moon,
          Who is already sick and pale with grief,
          That thou her maid art far more fair than she”

                                  “Romeo and Juliet”, 2, 2, 2-6

and with this newfound oratory, 
peremptory, insistent, imbued, 
however, with utterly convincing 
honesty, unfettered emotion, 
which is to say, humanity, 
Beethoven establishes the 
sensibility of a very era, listen

that era, up to, eventually, Brahms
elaborates on that ethos, adding 
texture and enhanced authority 
to the original concept, setting 
the moral agenda for that, and 
other generations, to follow 

Brahms is more ponderous, mighty,
a cathedral instead of a church, a
commandment instead of an 
aspirational, merely, thrust, he 
adds even a fourth movement to 
an already magnificent structure, 
an extra steeple to towering 
edifice, a subliminally received 
reference to Beethoven‘s already 
inspiredbut tripartite only,  
architecture   

see Chartres for a comparable
ecclesiastical counterpart


R ! chard

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