Brother Nathanael - Episode 55: How To Talk Beethoven
Aired: 2024-12-16
Duration: 30:22


=== Beethoven's Inner Dialogue (12:10) ===

[00:00:01]  *music* *music*
[00:00:25]  *music* It's the Late Night Show with Bro Nathaniel, your number one Noticer.
[00:00:52]  T-shirts are coming soon and everything.
[00:00:55]  Here we go.
[00:00:57]  How to talk.
[00:01:00]  Beethoven!
[00:01:01]  Has anyone ever plunged the depths of Beethoven's mind?
[00:01:06]  No one.
[00:01:07]  To understand Beethoven, one has to be out of his mind himself, and really no one knows Beethoven better than me.
[00:01:21]  First of all, Beethoven set the pace for the German aesthetic.
[00:01:29]  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.
[00:01:50]  I'll get into this later.
[00:01:51]  Now, let me tell you something about Beethoven that no one else knows.
[00:01:57]  This is my baton, okay?
[00:01:59]  It's what Beethoven did that no one ever did before him.
[00:02:04]  Not Haydn, not Mozart, not Bach.
[00:02:08]  It is this.
[00:02:10]  Beethoven had the orchestra divvied up into talking sessions.
[00:02:17]  Give a listen. Give a listen.
[00:02:48]  Give a listen.
[00:03:18]  Give a listen.
[00:03:43]  No one ever did that before.
[00:03:45]  No one.
[00:03:46]  Now you might have a phrase and it's repeated, but they are talking to each other, man.
[00:03:52]  Now, because I am classically trained on the piano and the concert hall from my youth, I know the real stuff about Beethoven.
[00:04:03]  Now, check this out.
[00:04:05]  I want you to see these contrasting picks.
[00:04:09]  Of Ludwig.
[00:04:11]  Okay, now you have the Leonon, the imposing, the majestic Beethoven.
[00:04:18]  I didn't mean him.
[00:04:19]  No, no.
[00:04:20]  That's him over there with a pockmarked.
[00:04:24]  Not all that good-looking, really.
[00:04:27]  Swarthy, complected, pockmarked.
[00:04:31]  Okay, and he didn't have that Leonide imposing look.
[00:04:36]  That wasn't Beethoven.
[00:04:38]  No!
[00:04:39]  How do I know this?
[00:04:41]  My teacher was a protege of Alvin Berg.
[00:04:43]  Okay, Alvin Berg, famous.
[00:04:45]  Okay, he knew all about these guys.
[00:04:48]  And he knew what Beethoven was, okay?
[00:04:51]  Let me go back to my monitor here.
[00:04:54]  Boom!
[00:04:54]  The Stream Deck is cool.
[00:04:56]  Now, yes, Beethoven was short.
[00:04:59]  He was pockmarked.
[00:05:00]  He was swarthy.
[00:05:01]  And here's the real story that nobody knows.
[00:05:04]  Beethoven had colitis.
[00:05:06]  No, he did.
[00:05:07]  You'll never read it in any of his biographies because they want to paint him as, you know, he's walking around town.
[00:05:13]  No, he spent half his time on the toilet, the other half on the piano.
[00:05:18]  And he also had ketchup all over the piano keys.
[00:05:23]  In spite of all that, Beethoven had the gift of prescience, a prophetic gift.
[00:05:30]  In his first funeral march, Ever composed, this is the first funeral march, ever composed, never composed before, in a symphonic setting.
[00:05:44]  I'm talking about Beethoven's third, the Eroica, which he dedicated to Napoleon, by the way.
[00:05:50]  Beethoven has the orchestra going apocalyptic, as if he saw something faithful coming into and through the 19th century and beyond.
[00:06:00]  This prophetic gift was given first to Beethoven, then to Brahms, and constantly given to Mahler.
[00:06:07]  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.
[00:06:22]  Number three, he saw the horror, the tragedy, the carnage, the millions of his own German people slain.
[00:06:28]  On the battlefield, the descriptive narration begins.
[00:06:33]  The End
[00:08:27]  Thank you.
[00:08:57]  I should have been a conductor.
[00:09:03]  I would have done better than Mercy.
[00:09:04]  But he did it good.
[00:09:08]  He had the whole orchestra crying in agony together, but in contrasting voices crying in their separate voices, but in this descriptive dialogue.
[00:09:24]  Now, here's something very different.
[00:09:28]  Same genre of the talking in Beethoven's Piano Concerto No.
[00:09:34]  4. In the third movement, Beethoven has a little tenetet now, a little talk with the orchestra.
[00:09:40]  Now this is very different.
[00:09:43]  This talk is in a contrasting passionate and on the other side, dispassionate.
[00:09:52]  Passionate, dispassionate, dialogue, trying to come to terms with each other, with one another.
[00:10:00]  But it's really...
[00:10:02]  This is a dialogue between Beethoven and himself.
[00:10:06]  He's at conflict with himself.
[00:10:09]  He's disputing between two extreme positions within his inner self.
[00:10:15]  It's a quest within himself.
[00:10:18]  To reconcile two extreme psychologies.
[00:10:22]  He can't.
[00:10:24]  He knows he's going deaf.
[00:10:27]  And he cannot reconcile himself through it.
[00:10:35]  You're going deaf.
[00:10:51]  No, no, I'm not going deaf.
[00:10:54]  No, it's just some accident.
[00:10:58]  I stuffed something in my ear.
[00:11:00]  No, that's not true.
[00:11:01]  No, I'm not going deaf.
[00:11:07]  No, it'll be fine.
[00:11:10]  I'll be fine.
[00:11:15]  Everything's fine.
[00:11:19]  No, you're in denial.
[00:11:21]  You're going deaf.
[00:11:23]  You might be deaf.
[00:11:30]  You're going deaf.
[00:11:34]  Now wait a minute.
[00:11:35]  You can't be right.
[00:11:38]  Yeah, you can't be right.
[00:11:44]  That's what that movement is about.
[00:11:46]  No one else knows but me and my teacher who was a protege of Albin Berg.
[00:11:51]  He told me that's what was going on.
[00:11:52]  This portion, this passage, this movement, it's the third movement of his piano concerto, number four.

=== Full Scope Of Beethoven's Sight (02:41) ===

[00:12:02]  This movement is pure inner psyche.
[00:12:07]  It's a psychologically oriented orchestra now.
[00:12:12]  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.
[00:12:24]  Mueller tried, came close.
[00:12:27]  And really, on the other hand, Sigmund Freud couldn't touch it like Ludwig van Beethoven.
[00:12:38]  Finally, in Beethoven's Ode to Joy, we all know it, of his famous Ninth Symphony, Beethoven really lets it all hang out.
[00:12:47]  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.
[00:13:01]  It's cosmic, though.
[00:13:04]  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.
[00:13:53]  .
[00:13:56]  ����

=== Beethoven's Deaf Yet Dramatic (04:37) ===

[00:14:25]  ���� He's playing with you.
[00:14:36]  it.
[00:14:38]  He's absolutely having a ball playing with you.
[00:14:41]  He is saying, hey, everybody out there listening, something's about to happen.
[00:14:48]  I'm not going to tell you what it is.
[00:14:50]  I will, but not for a while yet.
[00:14:53]  I'm going to keep you on the edge of your seat locked in suspense.
[00:14:56]  That was the playful Beethoven.
[00:14:59]  He's deaf.
[00:15:00]  He's completely deaf here, but he's having a great time.
[00:15:04]  Now, this whole thing about Beethoven being deaf, and look what he did, he composed this while he was deaf, no big deal.
[00:15:12]  All right, because for all practical purposes, Beethoven was already deaf when he wrote his Eighth Symphony.
[00:15:20]  And this being deaf doesn't matter.
[00:15:23]  Every composer worth his salt can hear it all in his head before even writing it down.
[00:15:30]  For instance, Brahms was once asked, invited to attend a concert by Edward Grieg, a contemporary.
[00:15:41]  Bray Tobin says, for what?
[00:15:43]  Why should I leave home?
[00:15:44]  I can just read the score.
[00:15:47]  Now, let me say that about this.
[00:15:48]  I studied piano from childhood.
[00:15:50]  My Jewish grandmother from Austria lived with us from the day I was born.
[00:15:57]  She lived with us and played, as a concert level pianist, Richard Strauss, Chopin, and Franz Liszt.
[00:16:04]  I grew up in this as a child, my formative years, and I would dance to her playing Strauss, the waltzes.
[00:16:11]  I never really cared for Franz Liszt, but I was exposed to it when I was three years old.
[00:16:15]  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.
[00:16:34]  Now, I can read scores.
[00:16:35]  Here's a few.
[00:16:36]  Here's one of the first scores I owned.
[00:16:38]  Brahms, Symphony No.
[00:16:39]  1, okay?
[00:16:41]  I can read it.
[00:16:43]  Who else do I have?
[00:16:44]  Oh, we heard the da-da-da-da!
[00:16:46]  Okay, here's Beethoven's Fifth, okay?
[00:16:49]  I can read this.
[00:16:52]  I got a ton of them here.
[00:16:54]  I'm gonna show off.
[00:16:55]  Here's Haydn.
[00:16:56]  I got Schubert.
[00:16:57]  Okay, I have them all.
[00:16:59]  I got a whole stack of them here, but I can read scores.
[00:17:05]  Now, Beethoven could be dramatic.
[00:17:07]  Then he could hold you forever in suspense, keeping you on the edge of your seat.
[00:17:12]  Then he could be very impulsive.
[00:17:15]  He could be, uh, all full of fury.
[00:17:21]  His pockmarked, swarthy, not really good-looking self, the way Colitis.
[00:17:27]  Then he could really be just so sweet.
[00:17:31]  I mean...
[00:17:33]  I like seeing blondes play German music.
[00:17:56]  It's very errant.
[00:17:58]  It's here again.
[00:17:59]  All right, it's very sweet.
[00:18:11]  Thank you.
[00:18:12]  He could be really sweet, a sweet guy, but really, you know, he would get in feuds and fights.
[00:18:17]  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.
[00:18:24]  He says, no, and then he'd get in a big argument.
[00:18:26]  He'd lose that patron, but another patron would come along, okay, because he was not going to be dictating anything.
[00:18:34]  Alright, so he's so sweet, so tender, so fond and affection, but then he says, that's enough of that.
[00:18:39]  Let's get down to it!
[00:18:41]  Pure drama!

=== Deutschland Uber Alles (08:25) ===

[00:19:00]  The orchestra!
[00:19:01]  Creates a perfect world.
[00:19:03]  No one better understood this than Ludwig van Beethoven.
[00:19:07]  He brings forth this perfect world.
[00:19:10]  On stage, complete with spectators, a utopia of persons, all playing their part, their roles, an autocracy by...
[00:19:21]  An autocratic conductor, but really a benevolent monarch.
[00:19:26]  This monarch creating a monarchy of a wall of sound, moving in different directions, kind of pointing at all in unity together.
[00:19:35]  It's really Deutschland über alles.
[00:19:40]  I'll see you next time.
[00:20:10]  I'll see you next time.
[00:20:40]  I'll see you next time.
[00:21:10]  I'll see you next time.
[00:21:31]  Now here, Beethoven outdoes Franz Joseph Haydn.
[00:21:36]  It was Haydn who wrote this.
[00:21:38]  Deutschland über alles.
[00:21:40]  Haydn wrote it.
[00:21:42]  Haydn celebrated it, but Beethoven overwrites it.
[00:21:47]  Punctuates it and elevates it to the highest heavens for decades, centuries to come.
[00:21:54]  This is a breaking forth out of the box.
[00:21:57]  I need to turn it up.
[00:22:14]  I need to turn it up.
[00:22:24]  He's a true Aryan. He's a true Aryan.
[00:22:55]  He's a true Aryan. He's a true Aryan. He's a true Aryan.
[00:23:05]  Okay, that's enough.
[00:23:08]  you This is German nationalism.
[00:23:10]  This is uniculturalism, not multiculturalism.
[00:23:16]  This is true German nationalism.
[00:23:19]  Beethoven breaks out of the box.
[00:23:22]  This is an ode to joy.
[00:23:23]  Oh no, this is more than that.
[00:23:26]  This is an ode to nationalism, the German people, the German folk.
[00:23:32]  Beethoven breaks out of the box, creates another box, and he breaks through that box.
[00:23:37]  Beethoven painted with a huge brush that extends through the centuries of humankind, of mankind.
[00:23:47]  He knew exactly what he was doing, Beethoven.
[00:23:50]  He knew he was going deaf, but he knew that in spite of his going deaf, He would be heard for centuries to come.
[00:23:58]  Wow!
[00:23:59]  You talk about irony!
[00:24:01]  God, he said, has given me the gift to attain to the unattainable.
[00:24:09]  That's what Beethoven said.
[00:24:11]  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.
[00:24:21]  You hear it?
[00:24:22]  You hear it here in his ode to joy.
[00:24:25]  Oh no, it's more than an ode to joy.
[00:24:27]  It's an ode to reaching to the unattainable.
[00:24:30]  That's an even bigger brush.
[00:24:34]  But the attainable was laid up in Franz Joseph Haydn, Beethoven's predecessor, his mentor and teacher.
[00:24:46]  Germany today, if it so wills, can attain it back.
[00:24:53]  Deutschland, Deutschland, über alles, über alles in der Welt.
[00:25:06]  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.
[00:25:33]  Deutschland, Deutschland, über alles, über alles in der Welt.
[00:25:47]  Deutschland, Deutschland, über alles, über alles in der Welt.
[00:26:00]  Deutschland, Deutschland, über alles in der Welt.
[00:26:18]  Deutschland, über alles in der Welt.
[00:26:22]  Okay.
[00:26:22]  Das ist ein Räumen.
[00:26:25]  There's the cathedrals.
[00:26:28]  The greatest civilization ever to exist in the history of mankind.
[00:26:33]  There's the cross.
[00:26:36]  The pagan gods were destroyed, eliminated the futility in the fourth century AD. Then the true civilization came via the church.
[00:26:49]  I don't give a damn about Jupiter and Zeus and all these idiots.
[00:26:55]  That's true.

=== World Jewry's Influence (03:26) ===

[00:26:56]  Uniculturalism built by the church.
[00:26:59]  Now what's interesting here that that video piece was recently put together seven years ago, but there is no multiculturalism in this.
[00:27:10]  No.
[00:27:12]  And this was put together with a combination of artists, dramatists, actors, and the German government.
[00:27:21]  But it's totally German unicultural.
[00:27:27]  That impresses me, that amazes me, because that's what the human yearns for, this kind of social environment.
[00:27:36]  Now, world Jewry, Jews, world Jewry, it's a collective.
[00:27:42]  It's a ruinous collective.
[00:27:44]  The master of world Jewry is Satan himself.
[00:27:49]  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.
[00:28:06]  Now, let me show you something about these conductors.
[00:28:13]  There's a ton of them who are Jews.
[00:28:15]  Now there's a reason for that because Jews are the great patrons of the arts.
[00:28:22]  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?
[00:28:32]  The great Jew, okay?
[00:28:36]  Conducting Beethoven, nah, uh-uh.
[00:28:39]  No, they cannot really fully enter into it.
[00:28:41]  Bernstein came close, but I don't know, there was something a little too dramatic about it.
[00:28:49]  Let me show you this, Ivan Fischer.
[00:28:52]  Let me get back to my stream here, my stream deck.
[00:28:55]  Do we have that other picture of him?
[00:28:58]  Where he looks so Jew-y?
[00:29:00]  I guess I don't.
[00:29:02]  Here he is.
[00:29:03]  Oh, God.
[00:29:05]  Look at this Jew, this Yid.
[00:29:08]  I mean, Beethoven would roll over in his grave.
[00:29:11]  He's the absolute contradiction to everything that Beethoven put forth artistically.
[00:29:19]  He's a contradiction.
[00:29:21]  Now let me tell you what Wagner, he called Wagner an anti-Semite, but Wagner was right on.
[00:29:27]  Here's the quote by Wagner that Fischer says he's an anti-Semite.
[00:29:33]  Wagner said the Jews have no culture of their own.
[00:29:36]  They borrow from us, he said.
[00:29:39]  Rather, they steal from us.
[00:29:42]  Now I'll close with this, because I grew up in this, I grew up in this culture.
[00:29:48]  I grew up in the concert hall.
[00:29:50]  I grew up in the piano, the whole deal.
[00:29:52]  Germanic culture, okay, from childhood.
[00:29:56]  My grandmother from Austria playing Liszt, playing Mozart, playing Strauss.
[00:30:03]  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.
[00:30:19]  Any and all affiliation with Jewry.