Prejudices, fifth seriesMencken, H. L. (Henry Louis)
History
Prejudices, fifth series
Mencken, H. L. (Henry Louis)
American essays -- 20th century; American literature -- History and criticism; Literature -- History and criticism
It was a bizarre jest of the gods to pit Beethoven, in his first
days in Vienna, against Papa Haydn. Haydn was undeniably a genius of
the first water, and, after Mozart’s death, had no apparent reason
to fear a rival. If he did not actually create the symphony as we
know it to-day, then he at least enriched the form with its first
genuine masterpieces--and not with a scant few, but literally with
dozens. Tunes of the utmost loveliness gushed from him like oil from
a well. More, he knew how to manage them; he was a master of musical
architectonics. If his music is sniffed at to-day, then it is only by
fools; there are at least six of his symphonies that are each worth
all the cacophony hatched by a whole herd of Schönbergs and Eric
Saties, with a couple of Korngolds thrown in to flavor the pot. But
when Beethoven stepped in, then poor old Papa had to step down. It was
like pitting a gazelle against an aurochs. One colossal bellow, and the
combat was over. Musicians are apt to look at it as a mere contest
of technicians. They point to the vastly greater skill and ingenuity
of Beethoven--his firmer grip upon his materials, his greater daring
and resourcefulness, his far better understanding of dynamics, rhythms
and clang-tints--in brief, his tremendously superior musicianship. But
that was not what made him so much greater than Haydn--for Haydn, too,
had his superiorities; for example, his far readier inventiveness, his
capacity for making better tunes. What lifted Beethoven above the old
master, and above all other men of music save perhaps Bach and Brahms,
was simply his greater dignity as a man. The feelings that Haydn put
into tone were the feelings of a country pastor, a rather civilized
stockbroker, a viola player gently mellowed by Kulmbacher. When he wept
it was with the tears of a woman who has discovered another wrinkle;
when he rejoiced it was with the joy of a child on Christmas morning.
But the feelings that Beethoven put into his music were the feelings of
a god. There was something olympian in his snarls and rages, and there
was a touch of hell-fire in his mirth.
Public-domain text, read in full here on John Shaqi.
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