A Qualification of Schoenberg's Assertion of "Brahms as the Progressive"

       

Arnold Schöenberg

           The criteria for determining the progressive character of Brahms' music is set by Schöenberg's assertion that all facts must be scrutinized in a scientific manner. In addition, scrutiny and presentation of the elements of Brahms' music is relevant if the receiver of the data possesses sufficient intellectual acumen and training to comprehend it. He notes also that "progress in music consists in the development of methods of presentation", a skill Brahms certainly portrayed. (Schöenberg, p. 401). In the minds of the less informed, Wagner may be portrayed as the progressive while Brahms is the "academician" or "classicist."

Johannes Brahms

          In a closer and "scientific" examination of Brahms' works, Schöenberg notes his departures from accepted nineteenth century thinking in regard to structure and tonal relationships. Upon perusal of an example of a Brahms' key relationship one notes that it "competes successfully with many a Wagnerian passage" (p. 402).  Schöenberg suggests that Richard Wagner's music may in fact be as pedantic as it is daring. One will note in Wagner's Todestrank indications of closer relationships to tonality than may be found in the opening of Brahms' String Quartet in C minor, Op. 51.

          Although Wagner's harmony may be considered richer in other regards like freer uses of dissonances, Brahms exemplifies remarkable harmonic relationship innovation in the opening of his String Quartet in C minor, Op. 51, No. 1. Many composers after Brahms avoided such remote deviations from the tonic base.

Richard Wagner

          Schöenberg notes that a musical thinker like Brahms systematizes irregularity in order to create structure and organization. And while Wagner seldom digressed from "two-by-two" measure construction in some works, Brahms, on the other hand, moved toward the creation of "musical prose" (Schoenberg, p. 414). This prose, as Schöenberg describes it, is a clear presentation of musical ideas that is not constrained by the symmetry of strophic verse or dance music. Brahms' skill at creating structure without the constraints of formal metrical feet (as in language) provides for creativity free from formal symmetry. This ability to convey musical prose in phrases of unequal length exemplifies the genius of the master who is "free from the shackles of an aesthetic of popular complaisance" (p. 409).

          The earliest works of Brahms indicate the existence of  asymmetry and phrases of different lengths (p. 416).  A consistent feature of his phrases of varied duration are overlapping phrases; as one phrase ends, a new one is beginning. This technique provides for a smooth, flowing sense of unending motion and is reminiscent of J. S. Bach's contrapuntal fugue masterpieces that ebb and flow, overlapping as they travel through metaphorical time and space. Here's an example of Bach's Fugue of Praeludium No. 22 in Bb minor (BMV 891) performed by Canadian pianist Glenn Gould.

Glenn Gould

          Brahms sets text to music in his inimitably creative manner. In the example Schöenberg provides on page 419, metrical feet are stretched (stretto) to create asymmetric phrases that present the music's meaning effectively. Clearly, the musical setting of the poems digresses from the original meter of the written language while enhancing meaning and emotive impact in their musical setting. In other examples, Brahms adds instrumental interludes between text in order to more clearly portray the emotive content of the poem; again, digressing from the text's original symmetry.

          In the opening sections of many of Brahms' works are textures and motivic elements that appear later in the same work. Schöenberg notes these "deviations" or "irregularities" as glances into the "remote future of his [Brahms'] themes or motives" and as examples of the "genius' foresight" (p. 422). Brahms' penchant for presenting this type of musical precursor in his works helps define his notion of effective musical structure.

          Schöenberg notes the contemporary composer's challenge to connect phrases of varied durations. Arguably, it is the composer's skills that create continuity through the use of "harmonic progression, rhythmic and motival contents, fluency and logic" (p. 429).

          To exemplify his argument in presenting Brahms as the Progressive, Schöenberg places Brahms in the same category as Mozart and Beethoven as composers of great inventiveness and versatility (p. 409). Common to all three composers is that their music is vital and important today. He notes Mattheson's smug comment that "counterpoint was a mere mental exercise without emotional power". This is significant because, in spite of Mattheson's great renown while living, his music has not survived and was likely written under existing precepts of musical dogma. Mattheson exists, as Schöenberg notes, only because of musicologists' interest in dead, decayed matter (p. 409).

Works Cited

            Schoenberg, Arnold. (1947). Brahms the Progressive.

Central Park Jacqueline Onassis Reservoir

In early May cherry blossoms are in full bloom around the reservoir. In addition to the jogging track that hugs around the reservoir, visitors and joggers enjoy the bridle trail, tennis courts, beautiful scenery, a fountain stream, and birds of many species. There is often a wonderful breeze. I have found it blissfully cathartic to walk the bridle path listening to ethereal music such as the Sanctus  or Agnus Dei from Gabriel Fauré's Requiem in D minor, Op. 48. This work focuses on the Roman Catholic Mass for the Dead and utilizes a choir, vocal soloists, orchestra (several versions), and pipe organ. This work can transfix the sensitive listener to new dimensions. The 7th and final movement in D major, "In Paradisum", is exquisitely beautiful and provides closure and peace. One can hardly walk after hearing and experiencing it. Here's a wonderful performance of In Paradisum by the Cambridge Singers, conducted by John Rutter. What's particularly nice about this video is that it scrolls the musical score as you listen -- . Another highly recommended listening that comes to mind by Fauré is his Cantique de Jean Racine, performed by the Cambridge Singers. Here's the text of the two works translated from the original Latin:

In Paradisum

Into paradise may the angels lead you.

In your coming 

may the martyrs receive you,  

and may they guide you

into the holy city, Jerusalem.

May the chorus of angels receive you, 

and with Lazarus, once poor, 

may you have eternal rest. 

Cantique de Jean Racine

Word, equal to the Almighty, our only hope,

Eternal light of the earth and the Heavens;

We break the peaceful night's silence,

Divine Saviour, cast your eyes upon us!

Spread the fire of your mighty grace upon us

May the entire hell flee at the sound of your voice;

Disperse from any slothful soul the drowsiness

Which induces it to forget your laws!

Oh Christ, look with favour upon this faithful people

Which has now gathered to bless you.

Receive its singing, offered to your immortal glory,

And may it leave with the gifts you have bestowed upon it! 

Cherry Blossoms on the Bridle Trail

Fountain Stream on the Reservoir

Flowers Blooming on the Bridle Trail

Tennis Courts with Public Lavatories (Laugh if you will, 

but people want to know this stuff!)

Why American Men Love Westerns -- Illuminated by Robert Warshow

     Larger than life characters played by actors such as Clint Eastwood, Gary Cooper and Henry Fonda in Westerns exemplify male self-determination and independence on many levels.

The Outlaw Josey Wales Theatrical Trailer

     The appeal and success of the American Western in film provide opportunity for introspective analyzing of the American people, and, particularly, the American male. As a member of this group, images are explored from a personal and perhaps, less than dispassionate perspective. In many respects, the Western film form celebrates and defines images of a male dominated world that the American man enjoys identifying with. Warshow provides vocabulary and reasoning that enlightens as he aptly describes the modus operandi of these films.

     The American gangster movie represents a more modern and antisocial cultural form of violence that represents times in America that reflect the industrial revolution. The images portrayed in the Western lend insight into the mind of the indigenous American viewer in the process of being tainted by two world wars, the cold war and the nuclear age. The viewer longs for times like the glorious and romantic 1870’s in the rugged western United States.

     A specific set of images help define the Western movie form as a complete dramatic entity that effectively maintained the interest of the American viewer for many decades.

     It is logical to project the drudgery and cynicism of a typical American factory worker’s whose life style is defined by a set of basic, inhibiting and “traditional” values. The movie viewer yearns for images that depict hero worship, freedom, space, power (guns), and available women who provide guiltless comfort. A vivid chimerical depiction of dominant male and lesser female roles is provided.

     The male audience’s attraction to the image of the Western film woman is powerful. Western women are usually portrayed as bar room entertainers or prostitutes who “understand” the cowboy and the irrelevance of love. By contrast, the eastern American woman’s spirit embodies images that exemplify civilization. Her values are portrayed disparagingly as feminine and consist of manners, virtues, refinement and even Christianity. Western movie women provide affection without guilt and do not require emotional attachment or other constraints associated with the typical marriage arrangement. The images characterized by the Western woman may also appeal to some American women viewers by projecting strength and independence in, albeit a “man’s world.”

     From time to time, every individual dreams of freedom from his work and responsibilities. Land and horses generously represent the Westerner’s physical freedom so admired by the American audience. The Western man is a man of leisure and the West is  “where men are men.” While the Westerner is generally unemployed, he always has money and is adept at functioning in his society. He expertly rides horses, plays poker, and is most often seen in a bar with “fallen” women who cavort with him. He generally wears the same clothes that are comfortable and utilitarian.

     Guns constitute the visible moral center of the movie, suggesting continually the possibility of violence. Moral issues are brought to a basic level. A certain image of a man is portrayed with a gun on his thigh —- he looks like a hero and shirks the constant possibility of violence in a self-controlled, relaxed fashion. At the same time, guns represent a source of power over life and death. Appealing to the viewer’s sense of good and evil, the hero only uses his gun for righteous purposes.

     The gun, carried freely in the open, helps to embody the heroic individual whose moral code is that of honor. The hero defends his honor in his quest and represents a code, that at best, exhibits a moral ambiguity that conceals his image and saves him from inanity. The conflict of good and evil is more a personal matter that is settled between two men and less than that of a social consequence or civilization; the Westerner does what he “has to do.” Warshow notes that we still hold real and important the image of personal nobility as exemplified in the Western and its late 19th century setting.

My Darling Clementine - Theatrical Trailer

     Fighting for justice provides opportunity —- the Western man defends his honor which is comprised of harmonious appearances as much as with desirable consequences. The Westerner’s moral code at best exhibits a moral ambiguity that darkens his image and saves him from absurdity. He presents an image of personal nobility that is real for us, the American.

     As the Western film evolved and the American viewer became more sophisticated, the form changed a bit. Warshow describes this change as a violation of the classical form. In the film “High Noon,” social drama is utilized; the hero leaves town as a pathetic rather than a tragic figure. His leaving signifies that the “social drama” has no place for him. The theme song from "High Noon", "Do Not Forsake Me, My Darling" provides one with a sense Gary Cooper's hero mystique. Yielding to the cinematic temptations of the landscape violates the Western form as well. A superficial reconstruction of history, as in “My Darling Clementine,” exemplifies this device. In the “Virginian,” Warshow cites the theme as the limitations of frontier life, not freedom and expansiveness.

Gary Cooper in High Noon

     These changes in the Western reflect a changing American society and viewer. More and more, images of the big city and the industrial society gain importance. Political events shape the society. The gangster movie sets forth the attractions of violence with respect to our higher social attitudes.

Gary Cooper in The Virginian

     Western movies have captured our imaginations for decades. This is due, in part, to the way the problem of violence is given serious orientation in a uniquely American setting. However, I believe that the major cause of success of these films is that they capitalize on a traditional American desire for self-determination.

          

Central Park Conservatory Garden - Manhattan

The Central Park Conservatory Garden is a wonderful way to enjoy nature at its best. Entrance to the garden is at Fifth Ave. and 105th, just a few blocks north from the reservoir and across from the Museum of the City of New York. Entry is free and there are public restrooms and food vendors on Fifth Ave. One can sit quietly on a bench and smell the blossoms while listening to song birds. It's a wonderful place to read, reflect and relax. You'll see couples posing for wedding and other event photographs.  Free tours are provided as well. For hours and other information check out http://www.centralparknyc.org/visit/things-to-see/north-end/conservatory-garden.html. If you visit soon, you'll be able to see the tulips in their full glory. You can sit on benches under the lilac trees. As the season changes, different plants and flowers will bloom. Here are a few scenes from this wonderful oasis in the city.

Popular film according to James Twitchell and Laura Mulvey

        James Twitchell and Laura Mulvey both use Freudian psychology in the extreme when discussing popular film. While Twitchell points out tabooed sexuality in the Frankenstein films, Mulvey, in my opinion, goes too far when she characterizes film as a “projection of a patriarchal order.” The passion of her attack on the industry evokes doubts regarding the efficacy of her arguments or motives. Using Freudian analysis as a political weapon to give credence to what I perceive as a manifestation of her own prejudices verges on absurdity. To state that the function of women in mainstream popular film is characterized by an esoteric and dated Freudian fear of a castration complex is ridiculous. Mulvey’s articulate invective is simply, in my opinion, Sophistry.

Sigmund Freud

            A dispassionate discourse with Freudian psychology as a vehicle for film interpretation might better serve as an stimulating intellectual exercise for students of psychology. Mulvey’s disquisition is too personal and intimate for this reader to take seriously. Pornography or low quality film might better serve as targets of Mulvey’s psychological reproach. 

            There is a noted flaw in the application of Freudian theory to art. Susanne Langer points out what Cassirer and Barfield noted in their employment of art theory. The application of Freudian psychology to art exhibits a peculiar weakness -- namely that it tends to put good and bad art on a par, making all art a natural self-expressive function like dream and “make-believe” instead of a hard won intellectual advance. ¹

par René François Ghislain Magritte

            One particular Freudian tool proves useful in this study. Freud ascertained a canon in art he describes as the principle of condensation, which he discovered in the course of his dream analysis. This term describes how images are intensified to heighten their emotional quality.² Hence, it is necessary for images in film to be amplified in order for meaning to be projected. I would argue that Mulvey misconstrues the technical elements required to make film viable.

            Mulvey's assumptions are arguable questionable when she states that alternative cinema, which she describes as more ideologically proper, must react against the “obsessions and assumptions” portrayed in mainstream popular film. She describes the popular film industry as monolithic, outworn and oppressive. (oppressive to whom?) She dares filmmakers to break with normal expectations in order to conceive a new language of desire. This language of desire is described as a type of gender neutral look into “dialectics and passionate detachment.” A Freudian analysis of Mulvey’s new “language of desire” would providing for intriguing discourse.

            One example of Mulvey’s film characterizations is particularly fascinating and absurd. In Hitchcock’s “Rear Window,” she describes Jeffries’ viewing of Lisa in the apartment across the way as subconscious erotic domination. He purportedly subjects her to his will sadistically and voyeuristically (did Jimmy Stewart know this?).

            Mulvey makes legitimate points about the subjugation of women as sex objects in cinema but loses credibility with her utilization of extreme Freudian hypothesis. One important aesthetic point she makes is that the visual presence of blatant sexuality actually detracts from the development of story-line. I concur that film makers all too often rely on gratuitous nudity, violence or erotic spectacle to sell their products...this says much about their audience. But clearly, sexual energy invigorates the world and screen alike in a positive way. Art without sexuality could not imitate life and gender neutral film with enervated emotive qualities would be of little human interest.

            Mulvey has not interpreted film in the perspective of a new art form and film as a new art is not yet technically perfected. As with every such novelty, it is exploited before it is technically perfected and flaunted in its most raw state. A flood of meaningless compositions steadily supply the cinematic business; there is usually a tidal wave of rubbish in association with every important advance. The viewer or aesthetic theorist must exercise taste and circumspect discrimination.

            Film as an art form can be examined in a dispassionate, scientific manner. Freudian psychology characterizes film as a dream mode with its primary illusion of virtual history. Cinema is a mode of appearance that invokes memory or makes us believe that we are remembering.³ Conceived as a dream mode, a good moving picture is a good work of art by all standards that apply to art as such. Sergei Eisenstein speaks of good and bad films as, respectively, “vital” and “lifeless; speaks of photographic shots as “elements” which combine into “images,” which are “objectively unpresentable,” but are greater elements compounded of “representations,” whether by montage or symbolic acting or any other means.”⁴ The motion picture is therefore a poetic presentation that like a dream, enthralls and commingles all senses. Many means, including illusion, words and music, are needed to help create the continuity of emotion which holds it together while its visions roam through space and time.

Sergei Eisenstein - the Battleship Potemkin (1925)

            To her credit, Mulvey’s ideas evoke important questions that beg further study. Where and when is sexuality appropriate? When does exploitation begin? How are inappropriate sexuality and exploitation defined? These questions and others have fueled debates on sexual harassment, family values and sexual identity. Mulvey is perhaps herself a manifestation of a frustrated existential society.

            Mulvey’s arguments contend the intent of the male gaze as designed by the film maker. I wonder if the gaze of a man towards a beautiful woman is the manifestation of a revolting Freudian castration anxiety or fetishistic scopophilia as Mulvey aruges. Contrary to the belief of many radical feminists, perhaps the Washington monument is not a phallocentrist image of male domination over castrated women. The gaze is, rather, simply a gaze. As Freud says, “Sometimes a cigar is just a cigar” in this dreamed reality that projects pure thought, pure dream and pure inner life. ⁵

Washington Monument --- dedicated to the Father of our Country

¹Langer, Susanne K., Feeling and Form: A Theory of Art,  New York: Charles             Scribner’s Sons, Copyright, 1953, p. 240.

²Freud, Sigmund, Interpretation of Dreams, Translated by A. A. Brill, New York:          Macmillan Co., 1913, pps. 20-21.

³ Langer, Susanne K., Feeling and Form: A Theory of Art,  New York: Charles            Scribner’s Sons, Copyright, 1953, p. 412.

⁴Eisenstein, Sergei M., The Film Sense , Translated and edited by Jay Leyda, New York:          Harcourt, Brace & Co., 1942.

⁵Jones, C. G., Contributions to Analytical Psychology, Translated by H. G. and C. F.    Baynes, New York: Harcourt, Brace & Co., 1928, pps. 17-18.