“True,” he responded. “And she does for a while achieve what she promised. But freedom is of course another word for subjectivity, and some fine day she does not hold out any longer, some time or other she despairs of the possibility of being creative out of herself and seeks shelter and security in the objective. Freedom always inclines to dialectic reversals. She realizes herself very soon in constraint, fulfils herself in the subordination to law, rule, coercion, system—but to fulfil herself therein does not mean she therefore ceases to be freedom.”
“In your opinion,” I laughed: “So far as she knows. But actually she is no longer freedom, as little as dictatorship born out of revolution is still freedom.”
“Are you sure of it?” he asked. “But anyhow that is talking politics. In art, at least, the subjective and the objective intertwine to the point of being indistinguishable, one proceeds from the other and takes the character of the other, the subjective precipitates as objective and by genius is again awaked to spontaneity, ‘dynamized,’ as we say; it speaks all at once the language of the subjective. The musical conventions today destroyed were not always so objective, so objectively imposed. They were crystallizations of living experiences and as such long performed an office of vital importance: the task of organization. Organization is everything. Without it there is nothing, least of all art. And it was aesthetic subjectivity that took on the task, it undertook to organize the work out of itself, in freedom.”
“You are thinking of Beethoven.”
“Of him and of the technical principle through which a dominating subjectivity got hold of the musical organization; I mean the development, or working out. The development itself had been a small part of the sonata, a modest republic of subjective illumination and dynamic. With Beethoven it becomes universal, becomes the centre of the whole form, which, even where it is supposed to remain conventional”, is absorbed by the subjective and is newly created in freedom. The form of variations, something archaic, a residuum, becomes a means by which to infuse new life into form. The principle of development plus variation technique extends over the whole sonata. It does that in Brahms, as thematic working-out, even more radically. Take him as an example of how subjectivity turns into objectivity. In him music abstains from all conventional flourishes, formulas, and residua and so to speak creates the unity of the work anew at every moment, out of freedom. But precisely on that account freedom becomes the principle of an all-round economy that leaves in music nothing casual, and develops the utmost diversity while adhering to the identical material. Where there is nothing unthematic left, nothing which could not show itself to derive from the same basic material, there one can no longer speak of a ‘free style.’ “
“And not of the ‘strict style’ in the old sense, either!”
“Old or new, I will tell you what I understand by ‘strict style.’ I mean the complete integration of all musical dimensions, their neutrality towards each other due to complete organization.”
“Do you see a way to do that?”
“Do you know,” he countered, “when I came nearest to the ‘strict style’?”
I waited. He spoke so low as to be hard to hear, and between his teeth, as he used to when he had headache.
“Once in the Brentano cycle,” he said, “in ‘O lieb Madel.’ That song is entirely derived from a fundamental figure, a series of interchangeable intervals, the five notes B, E, A, E, E-flat, and the horizontal melody and the vertical harmony are determined and controlled by it, in so far as that is possible with a basic motif of so few notes. It is like a word, a key word, stamped on everything in the song, which it would like to determine entirely. But it is too short a word and in itself not flexible enough. The tonal space it affords is too limited. One would have to go on from here and make larger words out of the twelve letters, as it were, of the tempered semitone alphabet. Words of twelve letters, certain combinations and interrelations of the twelve semitones, series of notes from which a piece and all the movements of a work must strictly derive. Every note of the whole composition, both melody and harmony, would have to show its relation to this fixed fundamental series. Not one might recur until the other notes have sounded. Not one might appear which did not fulfil its function in the whole structure. There would no longer be a free note. That is what I would call ‘strict composition.’ “
“A striking thought,” said I. “Rational organization through and through, one might indeed call it. You would gain an extraordinary unity and congruity, a sort of astronomical regularity and legality would be obtained thereby. But when I picture it to myself, it seems to me that the unchanged recurrence of such a succession of intervals, even when used in different parts of the texture, and in rhythmic variations, would result in a probably unavoidable serious musical impoverishment and stagnation.”
“Probably,” he answered, with a smile which showed that he had been prepared for this reservation. It was the smile that brought out strongly his likeness to his mother, but with the familiar look of strain which it would show under pressure of the migraine.
“And it is not so simple either. One must incorporate into the system all possible techniques of variation, including those decried as artificial; that is, the means which once helped the ‘development’ to win its hold over the sonata. I ask myself why I practised so long under Kretschmar the devices of the old counterpoint and covered so much paper with inversion fugues, crabs, and inversions of crabs. Well now, all that should come in handy for the ingenious modification of the twelve-note word. In addition to being a fundamental series it could find application in this way, that every one of its intervals is replaced by its inversion. Again, one could begin the figure with its last note and finish it on its first, and then invert this figure as well. So then you have four modes, each of which can be transposed to all the twelve notes of the chromatic scale, so that forty-eight different versions of the basic series may be used in a composition and whatever other variational diversions may present themselves. A composition can also use two or more series as basic material, as in the double and triple fugue. The decisive factor is that every note, without exception, has significance and function according to its place in the basic series or its derivatives. That would guarantee what I call the indifference to harmony and melody.”
“A magic square,” I said. “But do you hope to have people hear all that?”
“Hear?” he countered. “Do you remember a certain lecture given for the Society for the Common Weal from which it followed that in music one certainly need not hear everything? If by ‘hearing’ you understand the precise realization in detail of the means by which the highest and strictest order is achieved, like the order of the planets, a cosmic order and legality—no, that way one would not hear it. But this order one will or would hear, and the perception of it would afford an unknown aesthetic satisfaction.”
“Very remarkable,” said I. “The way you describe the thing, it comes to H sort of composing before composition. The whole disposition and organization of the material would have to be ready when the actual work should begin, and all one asks is: which is the actual work? For this preparation of the material is done by variation, and the creative element in variation, which one might call the actual composition, would be transferred back to the material itself—together with the freedom of the composer. When he went to work, he would no longer be free.”
“Bound by a self-imposed compulsion to order, hence free.”
“Well, of course the dialectic of freedom is unfathomable. But he could scarcely be called a free inventor of his harmony. Would not the making of chords be left to chance and accident?”
“Say, rather, to the context. The polyphonic dignity of every chord-forming note would be guaranteed by the constellation. The historical events—the emancipation of dissonance from its resolution, its becoming ‘absolute’ as it appears already in some passages of the later Wagner—would warrant any combination of notes which can justify itself before the system
.”
“And if the constellation produced the banal: consonance, common-chord harmonics, the worn-out, the diminished seventh?”
“That would be a rejuvenation of the worn-out by the constellation.”
“I see there a restorative element in your Utopia. It is very radical, but it relaxes the prohibition which after all already hung over consonance. The return to the ancient forms of variation is a similar sign.”
“More interesting phenomena,” he responded, “probably always have this double face of past and future, probably are always progressive and regressive in one. They display the equivocalness of life itself.”
“Is that not a generalization?”
“Of what?”
“Of our domestic experiences as a nation?”
“Oh, let us not be indiscreet! Or flatter ourselves either. All I want to say is that our objections—if they are meant as objections—would not count against the fulfilment of the old, the ever repeated demand to take hold and make order, and to resolve the magic essence of music into human reason.”
“You want to put me on my honour as a humanist,” said I. “Human reason! And besides, excuse me; ‘constellation’ is your every other word. But surely it belongs more to astrology. The rationalism you call for has a good deal of superstition about it—of belief in the incomprehensibly and vaguely daemonic, the kind of thing we have in games of chance, fortune-telling with cards, and shaking dice. Contrary to what you say, your system seems to me more calculated to dissolve human reason in magic.”
He carried his closed hand to his brow.
“Reason and magic,” said he, “may meet and become one in that which one calls wisdom, initiation; in belief in the stars, in numbers… “
I did not go on, as I saw that he was in pain. And all that he had said seemed to me to bear the mark of suffering, to stand in its sign, however intellectually remarkable it may have been. He himself seemed not to care for more conversation; his idle humming and sighing betrayed the fact as we sauntered on. I felt, of course, vexed and inwardly shook my head, silently reflecting as I walked that a man’s thoughts might be characterized by saying that he had a headache; but that did not make them less significant.
We spoke little on the rest of the way home. I recall that we paused by the Cow Trough, took a few steps away from the path and looked into it, with the reflection of the setting sun in our faces. The water was clear: one could see that the bottom was flat only near the edge; it fell off rapidly into darkness. The pond was known to be very deep in the middle.
“Cold,” said Adrian, motioning with his head; “much too cold to bathe.—Cold,” he repeated a moment later, this time with a definite shiver, and turned away.
My duties obliged me to go back that evening to Kaisersaschern. He himself delayed a few days longer his departure for Munich, where he had decided to settle. I see him pressing his father’s hand in farewell—for the last time; he knew it not. I see his mother kiss him and, perhaps in the same way as she had done that time with Kretschmar in the living-room, lean his head on her shoulder. He was not to return to her, he never did. She came to him.
CHAPTER XXIII
“He that would eat the kernel must crack the nut,” he wrote to me, copying Kumpf, from the Bavarian capital a few weeks later. He meant that he had begun the composition of Love’s Labour’s Lost, and he urged me to send the rest of the text. He needed, he said, to be able to see it as a whole, and he wanted, for the sake of providing musical links and connections, to anticipate the setting of some later parts of the libretto.
He lived in the Rambergstrasse, near the Academy, as a lodger with the widow of a Senator from Bremen, named Rodde, who with her two daughters occupied a ground-floor flat in a still new house. The room they gave him, fronting the quiet street, to the right of the entrance door, appealed to him on account of its cleanliness and impersonally comfortable furnishings. He had soon fully made it his own with more intimate belongings, books and notes. There was indeed one rather pointless decoration, relic of some past enthusiasm, framed in nutwood, on the left-hand wall: Giacomo Meyerbeer at the piano, with inspired gaze attacking the keys, surrounded by the hovering forms of characters from his operas. However, the apotheosis did not too much displease the young maestro, and when he sat in the basket-chair at his work-table, a simple green-covered extension-table, he had his back to it. So he let it stay.
A little harmonium, which might remind him of early days, stood in his room and was of use to him. But as the Frau Senator kept mostly to the garden side of the house, in the rear, and the daughters were invisible in the mornings, the grand piano in the salon, a rather old but soft-toned Bechstein, was also at his service. This salon was furnished with upholstered fauteuils, bronze candelabra, little gilt “occasional chairs,” a sofa-table with a brocade cover, and a richly framed, very much darkened oil painting of 1850, representing the Golden Horn with a view of Galata. All these things were easily recognized as the remnant of a once well-to-do bourgeois household. The salon was not seldom the scene of small social affairs, into which Adrian let himself be drawn, at first resisting, then as a habit, and finally, as circumstances brought it about, rather like a son of the house. It was the artist or half-artist world that gathered there, a house-broke Bohemia, so to speak: well-bred yet free-and-easy, and amusing enough to fulfil the expectations that had caused the Frau Senator to move from Bremen to the southern capital. Frau Senator Rodde’s background was easy to imagine. Her bearing and looks were ladylike: she had dark eyes, neatly waved hair only a little grey, an ivory complexion, and pleasant, rather well-preserved features. Her long life had been spent as an honoured member of a patrician society, presiding over a household full of servants and responsibilities. After the death of her husband (whose solemn likeness, in the garb of office, also adorned the salon) her circumstances were greatly reduced, so that she was probably not able to maintain her position in her accustomed milieu. At the same time there were now released in her certain still keen desires of an unexhaustible and probably never satisfied love of life, in some humanly warmer sphere. She entertained, she explained, in the interest of her daughters, but yet largely, as was pretty clear, to enjoy herself and hold court. One amused her best with mild little salacities, not going too far, jokes about barmaids, models, artists, to which she responded with a high, affected, suggestive laugh from between her closed lips.
Obviously her daughters, Inez and Clarissa, did not care for this laugh; they exchanged cold and disapproving looks, which showed all the irritation of grown children at the unsatisfied humanity in their mother’s nature. In the case of the younger, Clarissa, the uprooting out of her hereditary middle class had been conscious, deliberate, and pronounced. She was a tall blonde, with large features whitened by cosmetics, a full lower lip and underdeveloped chin; she was preparing for a dramatic career and studied with an elderly actor who played father parts at the Hoftheater. She wore her golden-yellow hair in bold and striking style, under hats like cartwheels, and she loved eccentric feather boas. Her imposing figure could stand these things very well and absorb their extravagance into her personality. Her tendency to the macabre and bizarre made her interesting to the masculine world which paid her homage. She had a sulphur-coloured tomcat named Isaac, whom she put in mourning for the deceased Pope by tying a black satin bow on his tail. The death’s-head motif appeared repeatedly in her room; there was actually a prepared skeleton, in all his toothiness; and a bronze paperweight that bore the hollow-eyed symbol of mortality and “healing” lying on a folio bearing the name of Hippocrates. The book was hollow, the smooth bottom of it being screwed in with four tiny screws, which could be unscrewed with a fine instrument. Later, after Clarissa had taken her life with the poison from this box, Frau Senator Rodde gave me the object as a memento and I have it still.
A tragic deed was also the destiny of the elder sister, Inez. She represented—or shall I say: yet she represented?—me conservative element in the little fam
ily; being a living protest against its transplantation, against everything South German, the art—metropolis, Bohemia, her mother’s evening parties. She turned her face obstinately back to the old, paternal, middle-class strictness and dignity. Still one got the impression that this conservatism was a defence mechanism against certain tensions and dangers in her own nature; though intellectually she ascribed some importance to these as well. She was more delicate in figure than Clarissa, with whom she got on very well, whereas she distinctly though unobtrusively turned away from her mother. Heavy ash-blond hair weighed down her head, so that she held it thrust out sidewise, with extended neck. Her mouth wore a pinched smile, her nose was rather beaked; the expression of her blue eyes, blurred by the drooping lids, was weakly, dull, suspicious; it was a look of knowledge and suffering, if not without some effort at roguishness. Her upbringing had been no more than highly correct: she had spent two years in an aristocratic girls’ boarding-school in Karlsruhe, patronized by the court. She occupied herself with no art or science, but laid stress on acting as daughter of the house. She read much, wrote extraordinarily literary letters “back home”—to the past, her boarding—house mistress and earlier friends. Secretly she wrote verse. Her sister showed me one day a poem by her, called “The Miner.” I still remember the first stanza:
A miner I who in the dark shaft mines
Of the soul, descending fearless from the light
To where the golden ore of anguish shines
With fugitive priceless glimmer through the night.
I have forgotten the rest, except the last line:
And never more upwards to joy I yearn.
So much for the present about the daughters, with whom Adrian came into relations as housemates. They both looked up to him and influenced their mother to follow suit, although she found him not very “artistic.” As for the guests of the house, some of them, including Adrian, or, as the hostess said, “our lodger, Herr Dr. Leverkühn,” a larger or smaller group, might be invited to supper in the Rodde dining-room, which was furnished with an oak sideboard much too monumental and richly carved for the room. Others came in at nine o’clock or later, for music, tea and talk. There were Clarissa’s male and female colleagues, one or the other ardent young man who rolled his r’s, and girls with voices placed well forwards; a couple named Knoterich—the man, Konrad Knoterich, a native of Munich, looked like a primitive German, Sugambian or Ubian, he only lacked the bushy tuft on top. He had some vaguely artistic occupation, had probably been a painter, but now dabbled at making instruments, and played cello, wildly and inaccurately, snorting violently as he played. His wife, Natalia, also had something to do with painting; she was an exotic brunette with a trace of Spanish blood, wearing earrings and black ringlets dangling on her cheeks. Then there was a scholar, Dr. Kranich, a numismatic expert, and Keeper of the Cabinet of Coins: clear, decided, cheerful and sensible in conversation, though with a hoarse asthmatic voice. There were two friends, both painters belonging to the Secession group, Leo Zink and Baptist Spengler; one an Austrian from near Bozen, a jester by social technique, an insinuating clown, who in a gentle drawl ceaselessly made fun of himself and his exaggeratedly long nose. He was a faunish type, making the women laugh with the really very droll expression of his close-set eyes-always a good opening. The other, Spengler, from central Germany, with a flourishing blond moustache, was a sceptical man of the world, with some means, no great worker, hypochondriac, well-read, always smiling and blinking rapidly as he talked. Inez Rodde mistrusted him very much—why, she did not say, but to Adrian she called him disingenuous, a sneak. Adrian said that he found Spengler intelligent and agreeable to talk to. He responded much less to the advances of another guest, who really took pains to woo Adrian’s reserve and shyness. This was Rudolf Schwerdtfeger, a gifted young violinist, member of the Zapfenstosser Orchestra, which next to the Hoftheater orchestra played a prominent role in the musical life of the town and in which he was one of the first violins. Born in Dresden, but in origin low-German, of medium height and neat build, and with a shock of flaxen hair, he had the polish, the pleasing versatility of the Saxon, and was in equal measure good-natured and desirous to please. He loved society and spent all his free time in at least one but oftener two or three evening parties, blissfully absorbed in flirtation with the other sex, young girls as well as more mature women. Leo Zink and he were on a cool, sometimes even ticklish footing; I have often noticed that charmers do not appreciate each other, a fact equally applicable to masculine and to feminine conquistadores. For my part I had nothing against Schwerdtfeger, I even liked him sincerely, and his early, tragic death, which had for me its own private and peculiar horror, shook me to my depths. How clearly I still see the figure of this young man: his boyish way of shrugging up one shoulder inside his coat and drawing down one corner of his mouth in a grimace. It was further his naive habit to watch someone talking, very tense, as it were in a fury of concentration, his lips curled, his steel-blue eyes burrowing into the speaker’s face, seeming to fix now on one eye and now on the other. What good qualities too did he not have quite aside from his talent, which one might almost reckon as one of his charms! Frankness, decency, open-mindedness, an artistic integrity, indifference to money and possessions—in short, a certain cleanness; all these looked out of his—I repeat it—beautiful steel-blue eyes and shone in a face full of youthful attractiveness if just slightly like a pug dog’s. He often played with the Frau Senator, who was no indifferent pianist—and thus somewhat encroached upon Knoterich, who wanted to sweep his cello, whereas the company were looking forward to hearing Rudolf. His playing was neat and cultivated, his tone not large, but of beautiful sweetness and technically not a little brilliant. Seldom has one heard certain things of Vivaldi, Vieuxtemps and Spohr, the C-minor Sonata of Grieg, even the Kreutzer Sonata, and compositions by Cesar Franck, more faultlessly played. With all this he was simple, untouched by letters, but concerned for the good opinion of prominent men of intellect—not only out of vanity, but because he seriously set store by intercourse with them and wanted to elevate and round himself out by its means. He at once had his eye on Adrian, paid court to him, practically neglecting the ladies; consulted his judgment, asked to be accompanied—Adrian at that time always refused—showed himself eager for musical and extra-musical conversation, and was put off by no reserve or rebuff. That may have been a sign of uncommon ingenuousness; but it displayed unselfconscious understanding and native culture as well. Once when Adrian, on account of a headache and utter distaste for society, had excused himself to the Frau Senator and remained in his room, Schwerdtfeger suddenly appeared, in his cut-away and black tie, to persuade him, ostensibly on behalf of several or all of the guests, to join them. They were so dull without him… It was even embarrassing, on the whole, for Adrian was by no means a lively social asset. I do not know if he let himself be persuaded. Probably it was in order to win him over that Schwerdtfeger said he was voicing the wish of the company; yet my friend must have felt a certain pleasant surprise at such invincible attentiveness. I have now rather fully introduced the persona; of the Rodde salon, mere figures at present, whose acquaintance, together with other members of Munich society I later made as a professor from Freising. Rüdiger Schildknapp joined the group quite soon; Adrian’s example having instructed him that one should live in Munich instead of Leipzig, he pulled himself together to act upon the conviction. The publisher of his translations from English classics had his offices in Munich, a fact of practical importance for Rüdiger; besides that he had probably missed Adrian, whom he at once began to delight with his stories about his father and his “Besichtigen Sie jenes!” He had taken a room in the third storey of a house in Amalienstrasse, not far from his friend; and there he now sat at his table, by nature quite exceptionally in need of fresh air, the whole winter through with wide-open windows, wrapped in mantle and plaid, vaporizing cigarettes and wrestling, half full of hatred, half passionately absorbed in his problems, and strivi
ng after the exact German value for English words, phrases, and rhythms. At midday he ate with Adrian, in the Hoftheater restaurant or in one of the Keller in the centre of the city; but very soon, through Leipzig connections, he had entree to private houses, and managed aside from evening invitations to have here and there a cover laid for him at the midday meal, perhaps after he had gone shopping with the housewife and intrigued her by a display of his lordly poverty. Such invitations came from his publisher, proprietor of the firm of Radbruch & Co. in the Furstenstrasse; and from the Schlaginhaufens, an elderly well-to-do and childless pair, the husband of Suabian origin and a private scholar, the wife from a Munich family. They had a somewhat gloomy but splendid house in the Briennerstrasse, where their pillared salon was the meeting-place of a society of mingled aristocratic and artistic elements. Nothing better pleased the housewife, a von Plausig by birth, than to have both elements represented in the same person, as in the Generalintendant of the Royal Theatres, His Excellency von Riedesel, who was often a guest. Schildknapp also dined with the industrialist Bullinger, a rich paper manufacturer, who occupied the bel etage in the block of flats built by himself in Wiedemayerstrasse on the river; with the family of a director of the Pschorrbrau joint-stock company; and in other houses.