Is
Beethoven greater than Mozart? When you’re
dealing with the greatest of the great of any artistic medium, it’s impossible
to say one is greater than another. It
becomes a matter of preference. At the
catholic blog, Inebriate Me, Pascal-Immanuel
Goby wrote a post titled “Beethoven > Mozart.” The “>” symbol signifies “greater than.”
I
like Goby’s blog, though it can be more philosophical than my tastes run in
reading about Catholicism. But he’s got
an interesting, out of the box, yet still traditional take on things. I like his perspective on economics and
Catholicism. Most Catholic bloggers don’t
understand economics, but Goby does. I
never refer to him in my head as Goby. From
writing literary essays I’m trained to use last names but the way I think of him
is by the first half of his name, Pascal.
He seems to share a number of things with the famous Pascal: an
intellectual Catholicism and that he’s French.
I know he lives in France, but he does write in English, so if he’s not
French, then his parents were certainly Francophiles to name him Pascal.
In
“Beethoven > Mozart” Goby wonders bemoans that theologians prefer Mozart as
their favorite composer, while Goby clearly believes that Beethoven is the
greatest. Why this this preference for
Mozart over Beethoven. Here’s part of
what he wrote:
We need more
theologians who love Beethoven. (We need more theologians who love Led
Zeppelin!)
I love Mozart. Truly.
He had access to the Forms. However…
We have many
theologians who love Mozart. Balthasar and Barth connected (in part) on their
shared love of Mozart as the greatest composer in history. Ratzinger, as is
well known, is a devotee of Mozart. All good.
But, but, but.
No, Mozart is not the
greatest. Mozart is not the greatest, because for all his attempts to move
beyond, all his pathos, he remains the classical composer par excellence.
Mozart is the Parthenon. Mozart represents art understood as submission to, and
fulfillment of, form.
No. This is not the
full truth of art. The full truth of art must have as its primary impulse the
expression of human subjectivity (an expression of subjectivity which only
through its embrace of itself can then point to universality), even as it
incorporates, uses, and in its fullness, transcends, aesthetic rules. And here
we are talking about Beethoven. Mozart expressed the fullness of humanity
within the classical rules. Beethoven expressed the fullness of humanity by
transcending (through incorporating) the classical rules.
Beethoven is not afraid
of being off-balance. Mozart raises the mind to contemplation, Beethoven grabs
you by the throat. Mozart is Aquinas, wonderful Aquinas, building angelic
cathedrals. Beethoven is Paul, frustratingly unsystematic, cajoling,
browbeating, repudiating, pleading, ordering, crying on the page.
The
comparison of Aquinas to Mozart, Beethoven to St. Paul is kind of apt. But I don’t see why that would make Beethoven
greater than Mozart. Here’s my comment
to his post.
Mozart is not the
greatest because he died too young. Had lived another twenty years he would
have been the greatest. I agree it would be great if more theologians loved
Beethoven as they do Mozart (I'm surprised they don't) but I think you're being
silly with Led Zeppelin. Bach is probably the greatest of them all. Where I
disagree is with how you value aesthetics. It's not that Beethoven is greater
because he is subjective in his art or because he is off balance. Neither of
those makes art greater or lesser. They are just different approaches.
Greatness comes from how well you create and how well your vision is
represented aesthetically. We are still under the guiding force of Romanticism,
so off balance appears to the general person to be of greater aesthetic
quality. If and when we return to a neo-classical zeitgeist, Beethoven might
appear to be ugly, or I should say uglier. Is Dante's Divine Comedy any lesser
because of its balance and interconnectiveness and rational form? I would argue
that Dante is closer to Mozart than Beethoven. And then perhaps one could say
that Shakespeare might be closer to Beethoven than Mozart, though perhaps
that's arguable. Dante and Shakespeare, as Mozart and Beethoven, have different
approaches. It's not the approaches that make them greater or lesser.
Goby
never replied to my comment; he usually does, but I sense he’s been busy
lately. Another person replied to me and
we had an interesting conversation about Led Zeppelin, so you can go over to
check that out if you wish. Goby’s
central thesis is that Christian theologians are too neo-classically oriented
and lack the passion of Romanticism. He does
end his post with this summation: “We need, in other words, Appasionnata
theology, we need Hymn to Joy theology, we need 5th and 6th symphony theology.” The “Hymn to Joy” allusion is actually a
reference to Beethoven’s concluding Ninth Symphony movement where Friedrich Schiller’s poem “Ode to Joy” is set in a choral. I’m sure people here know of it.
And
just a few days after reading the Goby post, I came across in almost divine
guided happenstance a post written by Stephen Klugewitz at The Imaginative
Conservative, titled “Did Mozart Write the “Ode to Joy”?” Klugewitz’s claim is that Beethoven took the theme
from Mozart.
Only a few pieces of
music in the Western canon rival the fame of the “Ode to Joy” theme: the
opening chords of Beethoven’s own Fifth Symphony, “Spring” from Vivaldi’s Four
Seasons, Wagner’s “Ride of the Valkyries,” the first notes of Mozart’s Eine
Kleine Nachtmusik, to name a few. The “Ode to Joy,” however, seems to stand
above these, due to its hymn-like, sublime character and its elevated call to
universal brotherhood. It will be forever associated with Beethoven’s name, and
alone would ensure his legacy as one of the greatest composers—in the
estimation of many, THE greatest composer—who ever lived.
The problem is that the
“Ode to Joy” theme is not entirely Beethoven’s. He borrowed the main part of it
from none other than Wolfgang Amadeus Mozart.
In 1775, at the age of
nineteen, Mozart composed the “Misericordias Domini,” K. 222, a six-minute
sacred work that is little recorded and seldom performed today, yet which
constitutes a minor masterpiece. Mozart employs what became the germ of the
“Ode to Joy” theme three times throughout the work
You
can read the rest of Klugewitz’s thoughts there and here Mozart’s “Misericordias
Domini” side by side to Beethoven’s fourth movement. Tell me if they sound similar. They do to my ear. What Klugewitz doesn’t show is that Beethoven
was aware of this little known Mozart piece.
It’s quite possible that it coincidental. But after listening side by side I tend to agree;
I think Beethoven stole it! Even the
arrangement is similar.
For
Music Tuesday I offer Beethoven’s “Ode to Joy.” section of the fourth movement
of his Ninth Symphony, here conducted by the late, great Leonard Bernstein. The actual “Ode to Joy” theme starts at about
3:50; the chorus stats at 7:55.
It's all a matter of taste, I guess. I like Verdi's Grand March from Aida, and Nessun Dorma amongst others.
ReplyDeleteGod bless.
I love Verdi myself. I can't say he's Bach, Beethoven, or Mozart, but he's just below. Those three have a depth of variety that I don't think Verdi quite achieves. But his best ranks up there with them.
DeleteAnd as usual, no mention of Pachabel.
ReplyDeleteI know. I have not forgotten. Every time I do a post on classical music I keep thinking I should do Pachabel. But then something comes up like this and I tell myself I'll save Pachabel for when I'm short of ideas to post. But truly I have not forgotten.
DeleteSee? See? Relegated to filler status. And I spelled his name wrong!!! I'm sorry Johann Pachelbel!!!!
DeleteI thought the spelling wasn't right. Hey, I promise I'll get to Pachelbel.
DeletePachelbel wrote one enduring thing. Mozart and Beethoven wrote many. I like Pachelbel, but there is no way I would put him in the same class with the other two, though of course I respect the opinions of those who do. I enjoy him. My personal greatest is Bach, and every piece of music he wrote was dedicated to God. That impresses a theology student. ;)
DeleteJulie
Yes indeed, Pachelbel, the original one-hit wonder:-D
ReplyDeleteI do love Canon in D; I told my husband that he should hope to die before me, cuz I'm putting in my will that I want that song to play in a perpetual loop for my viewing. He doesn't share my enthusiasm for the piece....
That said, Manny once poked fun at me when he learned that it was my fave; now I never lose a chance to poke him back.