Challenging and fresh
In his Beethoven book, Hans-Joachim Hinrichsen explains how important the intellectual climate of the early 19th century is for understanding music.
Beethoven, Ludwig van Beethoven again and again. Volumes have been written about the Bonn master, about this epitome of artistic genius who inspired generations, who gave comfort, who provided piano beginners with pieces as pretty as the Moonlight Sonata or Pour Elise. Anyone who takes a new and intensive look at Beethoven must first say: respect for this Herculean task! Hans-Joachim Hinrichsen, Professor Emeritus of Musicology at the University of Zurich, has not only rummaged through mountains of literature that are almost unmanageable. He also took a pleasantly direct approach to Beethoven by rubbing up against the musical texts as well as some of the commentaries handed down by the "master".
Beethoven's high level of reflection runs through the almost 400-page book like a common thread. Hinrichsen repeatedly emphasizes the intellectual climate of the early 19th century, which was essentially shaped by Immanuel Kant's philosophy. The link between the Enlightenment and Beethoven's music is not new, but it is convincing. Indeed, Kant's motto "Have the courage to use your own understanding" is reflected in an oeuvre that demanded and still demands active listening. Hinrichsen proves this not by listening, but by looking at the musical text. His analysis requires some knowledge of music theory. The interested layman might be put off by this, even the intimate Beethoven connoisseur would have wished for more emotion and enthusiasm in places. A sometimes gripping tone ("enthralling work") unfortunately too often seeps away in sophistical discussions in a convoluted musicological style: "The cadenzas in E minor (twice in the introduction [m. 12, m. 28], once in the fugue [m. 166 ff.]) are structurally counterbalanced by two returns to E flat major in the coda and stretto [m. 210 ff., m. 257 ff.], so that the tonic, similar to the Leonore II and III overtures, appears symmetrically framed by its Grossterz mediants." (S. 258)
The academic perspective also explains the desire to correct widespread, unfortunately also cemented misunderstandings. Hinrichsen rightly criticizes some of Theodor W. Adorno's interpretations of Beethoven as well as the assumption that the even-numbered symphonies are no match for the odd-numbered ones. He also makes the case for some neglected works. The musicologist convincingly demonstrates the exceptional nature of the symphonies - between the great Waldstein Sonata and the Appassionata hidden and "scandalously unknown" - Piano Sonata op. 54 or the second movement of the Rasumovsky Quartet op. 59/1. After the demanding reading, one likes to go to the record shelf and listen to the works again. And what more could Hinrichsen wish for in the end than to arouse curiosity and refresh the listening experience?
Hans-Joachim Hinrichsen: Ludwig van Beethoven. Music for a new age, 386 p., € 39.99, Bärenreiter, Kassel 2019, ISBN 978-3-7618-7091-4
