“Dit-dit-dit-dah" is the famous opening
motif of Beethoven's much-admired Fifth Symphony, dubbed "Fate,"
composed in the early 19th century. I don’t imagine the master musician
expected a corona virus pandemic would sweep the world one day, but to the ears
of us citizens of the 21st-century his music can sound as if an invisible, intangible "fate" is knocking at our
door.
Who named the symphony "Fate"? The
Fifth, as a composition, is not as heavy as all that. It sounds more like a
brave song for a Roman emperor marching with his army through a grand triumphal
arch. It is nearly an allegro, powerful and rather bright; as I hear it, the
final movement conveys the energy of heading out to do battle again.
If a piece of music does not have a title
given by the composer there should be as many interpretations as there are listeners,
allowing us to enjoy it in multiple ways, through the “intangibles”
of imagination and emotion, depending on how we feel at a particular moment. As
an innocent, daredevil musical amateur, I listen in that way.
Some people say the title given to a piece of
music is its "pet name" or "nickname." This is very
interesting: I suppose it is a kind of nickname. Performers and critics use
such nicknames, for convenience sake, more often than we might think. They
certainly offer interpretative clues. There are, for example, many Chopin
waltzes, Op. 64, and "Waltz of a Puppy" that are easier to listen to
because of their informal titles.
Musical impressionists such as Debussy and
Fauré employ a style of music that eschews the traditional tonality of the Romantic
school and emphasizes the expression of moods and atmosphere, more fuzzy and
gentle. On the other hand, their music often bears direct and specific titles
such as "Sea,” “Waves,” “Clouds,” or “Moon." In the case of Richard
Wagner, did he and his wife Cosima––a
strong personality––dream up the titles for his music by putting
their two rather large heads together? Certainly, a title bestowed by the
composer––a title he or she has strongly committed to––is inviolable, and no room exists for anything like a nickname.
When Gustav Mahler attached the title "Kindertotenlieder”
(Songs on the Death of Children) to his composition for voice and orchestra it infuriated
his wife Alma, who protested to her husband: “How insensitive you are! Our
child is not dead yet.” But four years after completing this work, as fate
would have it, Mahler suddenly lost his daughter. It proved a prophetic title.
Tchaikovsky's Sixth was originally supposed to
carry the title "Tragedy," but the composer didn't like it. He was eventually
convinced to accept the name “Pathétique.”
And one more mystery: Why is Dvorak's Eighth
Symphony called "English." Many regard it as an unmistakably Slavic
piece. The reason for the name: the score was first published in England.
It might be an interesting approach to pay
strict attention to musical titles. From now on, when I listen to a piece of music,
I will try to keep in mind the title, and ponder, why was it so named, does it
match the tune, and who named it? And for pieces having no title, just a
number, it might be fun to imagine and choose my own titles.
I think music holds the most beautiful of intangible powers that touches our heart for an
instant, and then disappears into the heavens. I am having more and more fun
seeking to expand my world through music, making the fullest use of my emotions
and fantasy, those preciously intangible
things: an unexpected gift of my corona-enforced confinement.
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