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Dec. 16, 2024 - Brother Nathanael
30:22
Episode 55: How To Talk Beethoven
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*music* *music*
*music* It's the Late Night Show with Bro Nathaniel, your number one Noticer.
T-shirts are coming soon and everything.
Here we go.
How to talk.
Beethoven!
Has anyone ever plunged the depths of Beethoven's mind?
No one.
To understand Beethoven, one has to be out of his mind himself, and really no one knows Beethoven better than me.
First of all, Beethoven set the pace for the German aesthetic.
This was brought to its consummate height by Richard Wagner, who Hitler adored, and wished to create this aesthetic he saw in Wagner in a total German social milieu, which would be Juden frei, Juden free.
I'll get into this later.
Now, let me tell you something about Beethoven that no one else knows.
This is my baton, okay?
It's what Beethoven did that no one ever did before him.
Not Haydn, not Mozart, not Bach.
It is this.
Beethoven had the orchestra divvied up into talking sessions.
Give a listen. Give a listen.
Give a listen.
Give a listen.
No one ever did that before.
No one.
Now you might have a phrase and it's repeated, but they are talking to each other, man.
Now, because I am classically trained on the piano and the concert hall from my youth, I know the real stuff about Beethoven.
Now, check this out.
I want you to see these contrasting picks.
Of Ludwig.
Okay, now you have the Leonon, the imposing, the majestic Beethoven.
I didn't mean him.
No, no.
That's him over there with a pockmarked.
Not all that good-looking, really.
Swarthy, complected, pockmarked.
Okay, and he didn't have that Leonide imposing look.
That wasn't Beethoven.
No!
How do I know this?
My teacher was a protege of Alvin Berg.
Okay, Alvin Berg, famous.
Okay, he knew all about these guys.
And he knew what Beethoven was, okay?
Let me go back to my monitor here.
Boom!
The Stream Deck is cool.
Now, yes, Beethoven was short.
He was pockmarked.
He was swarthy.
And here's the real story that nobody knows.
Beethoven had colitis.
No, he did.
You'll never read it in any of his biographies because they want to paint him as, you know, he's walking around town.
No, he spent half his time on the toilet, the other half on the piano.
And he also had ketchup all over the piano keys.
In spite of all that, Beethoven had the gift of prescience, a prophetic gift.
In his first funeral march, Ever composed, this is the first funeral march, ever composed, never composed before, in a symphonic setting.
I'm talking about Beethoven's third, the Eroica, which he dedicated to Napoleon, by the way.
Beethoven has the orchestra going apocalyptic, as if he saw something faithful coming into and through the 19th century and beyond.
This prophetic gift was given first to Beethoven, then to Brahms, and constantly given to Mahler.
Now, I'm convinced that Beethoven saw World War I coming a hundred years hence from his composing this third movement, the Marsha Funeral March, in his Eroica symphony.
Number three, he saw the horror, the tragedy, the carnage, the millions of his own German people slain.
On the battlefield, the descriptive narration begins.
The End
Thank you.
I should have been a conductor.
I would have done better than Mercy.
But he did it good.
He had the whole orchestra crying in agony together, but in contrasting voices crying in their separate voices, but in this descriptive dialogue.
Now, here's something very different.
Same genre of the talking in Beethoven's Piano Concerto No.
4. In the third movement, Beethoven has a little tenetet now, a little talk with the orchestra.
Now this is very different.
This talk is in a contrasting passionate and on the other side, dispassionate.
Passionate, dispassionate, dialogue, trying to come to terms with each other, with one another.
But it's really...
This is a dialogue between Beethoven and himself.
He's at conflict with himself.
He's disputing between two extreme positions within his inner self.
It's a quest within himself.
To reconcile two extreme psychologies.
He can't.
He knows he's going deaf.
And he cannot reconcile himself through it.
You're going deaf.
No, no, I'm not going deaf.
No, it's just some accident.
I stuffed something in my ear.
No, that's not true.
No, I'm not going deaf.
No, it'll be fine.
I'll be fine.
Everything's fine.
No, you're in denial.
You're going deaf.
You might be deaf.
You're going deaf.
Now wait a minute.
You can't be right.
Yeah, you can't be right.
That's what that movement is about.
No one else knows but me and my teacher who was a protege of Albin Berg.
He told me that's what was going on.
This portion, this passage, this movement, it's the third movement of his piano concerto, number four.
This movement is pure inner psyche.
It's a psychologically oriented orchestra now.
Plunging the depths of the inner contradictions in man, in Beethoven, no one ever moves so profoundly into psychic realm with that orchestra before or after.
Mueller tried, came close.
And really, on the other hand, Sigmund Freud couldn't touch it like Ludwig van Beethoven.
Finally, in Beethoven's Ode to Joy, we all know it, of his famous Ninth Symphony, Beethoven really lets it all hang out.
I mean, it's a total hangout of a hundred voices, a throng of instruments, wood, brass, men, women, soloists, quartet, choir, and a conductor, all hanging out together, joying it all up.
It's cosmic, though.
It's the length, it's the breadth, it's the depth, and it's the height, the full scope of Beethoven's sight, cosmic through and through.
.
����
���� He's playing with you.
it.
He's absolutely having a ball playing with you.
He is saying, hey, everybody out there listening, something's about to happen.
I'm not going to tell you what it is.
I will, but not for a while yet.
I'm going to keep you on the edge of your seat locked in suspense.
That was the playful Beethoven.
He's deaf.
He's completely deaf here, but he's having a great time.
Now, this whole thing about Beethoven being deaf, and look what he did, he composed this while he was deaf, no big deal.
All right, because for all practical purposes, Beethoven was already deaf when he wrote his Eighth Symphony.
And this being deaf doesn't matter.
Every composer worth his salt can hear it all in his head before even writing it down.
For instance, Brahms was once asked, invited to attend a concert by Edward Grieg, a contemporary.
Bray Tobin says, for what?
Why should I leave home?
I can just read the score.
Now, let me say that about this.
I studied piano from childhood.
My Jewish grandmother from Austria lived with us from the day I was born.
She lived with us and played, as a concert level pianist, Richard Strauss, Chopin, and Franz Liszt.
I grew up in this as a child, my formative years, and I would dance to her playing Strauss, the waltzes.
I never really cared for Franz Liszt, but I was exposed to it when I was three years old.
Then, as a young adult, I studied Schoenberg's Harmony Counterpoint Form and Composition course for four intense years with Joseph Gabriel Maneri, a very famous microtonalist of New England Conservatory of Music, who was a protégé of Alvin Berg.
Now, I can read scores.
Here's a few.
Here's one of the first scores I owned.
Brahms, Symphony No.
1, okay?
I can read it.
Who else do I have?
Oh, we heard the da-da-da-da!
Okay, here's Beethoven's Fifth, okay?
I can read this.
I got a ton of them here.
I'm gonna show off.
Here's Haydn.
I got Schubert.
Okay, I have them all.
I got a whole stack of them here, but I can read scores.
Now, Beethoven could be dramatic.
Then he could hold you forever in suspense, keeping you on the edge of your seat.
Then he could be very impulsive.
He could be, uh, all full of fury.
His pockmarked, swarthy, not really good-looking self, the way Colitis.
Then he could really be just so sweet.
I mean...
I like seeing blondes play German music.
It's very errant.
It's here again.
All right, it's very sweet.
Thank you.
He could be really sweet, a sweet guy, but really, you know, he would get in feuds and fights.
He would have a patron, and then the patron would start because he was giving him money to start dictating to him, and he wouldn't take it from him.
He says, no, and then he'd get in a big argument.
He'd lose that patron, but another patron would come along, okay, because he was not going to be dictating anything.
Alright, so he's so sweet, so tender, so fond and affection, but then he says, that's enough of that.
Let's get down to it!
Pure drama!
The orchestra!
Creates a perfect world.
No one better understood this than Ludwig van Beethoven.
He brings forth this perfect world.
On stage, complete with spectators, a utopia of persons, all playing their part, their roles, an autocracy by...
An autocratic conductor, but really a benevolent monarch.
This monarch creating a monarchy of a wall of sound, moving in different directions, kind of pointing at all in unity together.
It's really Deutschland über alles.
I'll see you next time.
I'll see you next time.
I'll see you next time.
I'll see you next time.
Now here, Beethoven outdoes Franz Joseph Haydn.
It was Haydn who wrote this.
Deutschland über alles.
Haydn wrote it.
Haydn celebrated it, but Beethoven overwrites it.
Punctuates it and elevates it to the highest heavens for decades, centuries to come.
This is a breaking forth out of the box.
I need to turn it up.
I need to turn it up.
He's a true Aryan. He's a true Aryan.
He's a true Aryan. He's a true Aryan. He's a true Aryan.
Okay, that's enough.
you This is German nationalism.
This is uniculturalism, not multiculturalism.
This is true German nationalism.
Beethoven breaks out of the box.
This is an ode to joy.
Oh no, this is more than that.
This is an ode to nationalism, the German people, the German folk.
Beethoven breaks out of the box, creates another box, and he breaks through that box.
Beethoven painted with a huge brush that extends through the centuries of humankind, of mankind.
He knew exactly what he was doing, Beethoven.
He knew he was going deaf, but he knew that in spite of his going deaf, He would be heard for centuries to come.
Wow!
You talk about irony!
God, he said, has given me the gift to attain to the unattainable.
That's what Beethoven said.
Nobody knows he said that except Alan Berg who told my teacher, God, Beethoven said, has given me the gift to attain to the unattainable.
You hear it?
You hear it here in his ode to joy.
Oh no, it's more than an ode to joy.
It's an ode to reaching to the unattainable.
That's an even bigger brush.
But the attainable was laid up in Franz Joseph Haydn, Beethoven's predecessor, his mentor and teacher.
Germany today, if it so wills, can attain it back.
Deutschland, Deutschland, über alles, über alles in der Welt.
Wenn es nicht so schuss und große, über die Zusammenarbeit kommt, von der Basis an die von der Basis an die Welt, von der Welt ist an die Welt.
Deutschland, Deutschland, über alles, über alles in der Welt.
Deutschland, Deutschland, über alles, über alles in der Welt.
Deutschland, Deutschland, über alles in der Welt.
Deutschland, über alles in der Welt.
Okay.
Das ist ein Räumen.
There's the cathedrals.
The greatest civilization ever to exist in the history of mankind.
There's the cross.
The pagan gods were destroyed, eliminated the futility in the fourth century AD. Then the true civilization came via the church.
I don't give a damn about Jupiter and Zeus and all these idiots.
That's true.
Uniculturalism built by the church.
Now what's interesting here that that video piece was recently put together seven years ago, but there is no multiculturalism in this.
No.
And this was put together with a combination of artists, dramatists, actors, and the German government.
But it's totally German unicultural.
That impresses me, that amazes me, because that's what the human yearns for, this kind of social environment.
Now, world Jewry, Jews, world Jewry, it's a collective.
It's a ruinous collective.
The master of world Jewry is Satan himself.
World Jewry now dominating the Western world, built by the Church, is now hell-bent on destroying all that the Church built on destroying German Uniculturalism and destroying the German artistic spirit.
Now, let me show you something about these conductors.
There's a ton of them who are Jews.
Now there's a reason for that because Jews are the great patrons of the arts.
And if you're a Jew, and they like the way you look, and you're dramatic enough, you know, like Fischer, Ivan Fischer, who called Wagner an anti-Semite, okay?
The great Jew, okay?
Conducting Beethoven, nah, uh-uh.
No, they cannot really fully enter into it.
Bernstein came close, but I don't know, there was something a little too dramatic about it.
Let me show you this, Ivan Fischer.
Let me get back to my stream here, my stream deck.
Do we have that other picture of him?
Where he looks so Jew-y?
I guess I don't.
Here he is.
Oh, God.
Look at this Jew, this Yid.
I mean, Beethoven would roll over in his grave.
He's the absolute contradiction to everything that Beethoven put forth artistically.
He's a contradiction.
Now let me tell you what Wagner, he called Wagner an anti-Semite, but Wagner was right on.
Here's the quote by Wagner that Fischer says he's an anti-Semite.
Wagner said the Jews have no culture of their own.
They borrow from us, he said.
Rather, they steal from us.
Now I'll close with this, because I grew up in this, I grew up in this culture.
I grew up in the concert hall.
I grew up in the piano, the whole deal.
Germanic culture, okay, from childhood.
My grandmother from Austria playing Liszt, playing Mozart, playing Strauss.
Any conductor of Beethoven who is a Jew must, if he is to be true to his conducting, the great Germanic master Ludwig van Beethoven must deny.
Any and all affiliation with Jewry.
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