There are exceptional cases where events from the composer’s life can be traced in the music. Beethoven, in his Sonata op. 110, composed the experience of returning to life after a severe case of jaundice. Similarly, Schoenberg in his String Trio turned a major health crisis into sound. And Brahms conceived his D-Minor Piano Concerto under the impact of Schumann’s plunge into the Rhine. Generally, however, the desire to link tendencies and incidents in an artist’s life to his compositions will lead us astray. The notion that a griever longs to compose his grief, a dying musician the experience of dying, or a person overwhelmed with joy his gaiety belongs in the realm of fairy tales.
Copyright ©Alfred Brendel 2013 (to be published in the UK by Faber & Faber Ltd. on September 5, 2013).
This article is available to subscribers only.
Please choose from one of the options below to access this article:
Purchase a print subscription (20 issues per year) and also receive online access to all articles published within the last five years.
Purchase an Online Edition subscription and receive full access to all articles published by the Review since 1963.
Purchase a trial Online Edition subscription and receive unlimited access for one week to all the content on nybooks.com.