The Kyrie of the Mass in D has always presented itself to my
consciousness as a series of gigantic tone-pictures, in which the
omnipotence of God, and the impotence of humanity is brought into
juxtaposition. The Coriolanus overture is another instance among the
many at hand illustrating this point. Here we see how the forceful,
aggressive, bold, masterful genius, is subdued by the power of conjugal
and filial love, a power in this case as irresistible as that of a
glacier, which will make its way against any odds. Each side in striving
for the mastery, displays its own peculiar characteristics and mode. It
is the everlasting struggle between the evil principle and that which is
good. He ranges titanic forces in opposition and lets us see the battle.
By the magic of his art we are enabled to see these pictures as on a
canvas.
It is frequently stated that Beethoven's music shows a deficiency in
counterpoint. His originality, the wealth of his ideas, his versatility,
will explain this. The fugue, while it is ingenious and interesting, is
artificial and, indeed often arbitrary in musical composition, sometimes
introduced merely to stop gaps or for brilliancy of effect.
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