Right—let me at least acknowledge the news, so that you know that I, son and brother of newspapermen, have done my job. One person is dead in Ankara, Turkey, in a terrorist suicide attempt. Protesters in Egypt have attacked the presidential palace. US army suicides are at a record high, and so, by the way, is the Dow Jones Industrial Average, at least since 2007.
And I could tell you, since I was compelled to watch it, that Muslim fundamentalists are attempting to enforce Sharia law in parts of London. Actually, it’s happening all over Europe, in neighborhoods that are heavily Muslim.
Here’s the question—does any of this make you feel better?
If the answer is no, then you really should check out the clip below. First of all for the quality of the performance—these are some skilled guys, in particular the first cellist, who looks like he’s only recently been toilet trained. But wow, what a musician!
Then there’s the piece itself, which is some of the most gentle, tranquil music Brahms ever composed. And it’s one of those pieces that you know but somehow never hear. Then, of course, you do, and you immediately say, “I’m gonna listen to that much more often!” It’s that old friend that you really love but somehow never see….
Brahms is one of those guys you love or hate—and several of my friends, including Mr. Fernández, are in the hate camp. “There’s something he does in every composition where the violins are screeching or maybe it’s the harmonic progression but it just drives me nuts,” he reports.
I, on the other hand, absolutely love the music. Nor am I alone—Brahms was popular in his own lifetime, and died a wealthy man, though he was born in poverty. What sort of poverty? Well, his father had to play piano in dance halls, according to Wikipedia.
Which may be employing euphemisms; I always heard that it was brothels. Brahms himself acknowledged that he had a little difficulty with women, perhaps because of his father’s professional activity, perhaps because his mother was seventeen years older than his father.
Then there’s the other theory—Clara Schumann. It’s undeniable that they were devoted to each other, and Brahms spent the two years following Robert Schumann’s death bucking up Clara. He moved into an apartment in her house, and gave up pretty much everything—concerts and composition. So, our inquisitive modern mind wants to know—were they an item?
Gentle reader—there are some places you don’t go.
Or rather can’t, since both Brahms and Clara burnt their letters.
Nor was that the only thing destroyed—there’s the twenty string quartets that Brahms decided weren’t up to snuff. Legend has it that he ripped up a number of attempts at symphonies, too—he had the weight of Beethoven’s Ninth always on his back.
He was rich, but he lived simply. He took long walks, carrying candy for the children, but was grumpy at times to his friends. A story often told about the E Minor cello sonata has the cellist screaming, “I can’t HEAR myself!” Brahms, thundering away at the piano, shouts back, “you’re lucky!”
He writes a requiem that is among the most moving works of sacred music, but doesn’t, apparently, believe. It worries Dvorak, who writes in a letter, "Such a man, such a fine soul—and he believes in nothing! He believes in nothing!"
There’s a school of belief that says that the real essence of Brahms are the little works, the small works—not the symphonies. Hearing the sextet below, I begin to think that may be right.
