Three Bs: Difference between revisions
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==Origins== |
==Origins== |
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In an article in the ''Berliner Allgemeine Musikalische Zeitung'', Cornelius introduces Berlioz as the third B, concluding his article with the cheer, <blockquote>''Bach, Beethoven, Berlioz!''<ref name="Barzun, Vol. II, p. 76">Barzun, p. 76</ref></blockquote> Decades later, Bülow composed the following [[pun]] to a friend. <blockquote>''Mein musikalisches Glaubensbekenntniss steht in Es dur, mit drei B-en in der Vorzeichnung: Bach, Beethoven, und Brahms!''<ref name="Slonimsky, p. 99">Slonimsky, p. 99</ref></blockquote>"B", in German, stands for the key of [[B-flat]]; because the flat symbol resembles a lower-case "b", it may also refer to any flat. Consequently, the remark may be translated, roughly, as<blockquote>My |
In an article in the ''Berliner Allgemeine Musikalische Zeitung'', Cornelius introduces Berlioz as the third B, concluding his article with the cheer, <blockquote>''Bach, Beethoven, Berlioz!''<ref name="Barzun, Vol. II, p. 76">Barzun, p. 76</ref></blockquote> Decades later, Bülow composed the following [[pun]] to a friend. <blockquote>''Mein musikalisches Glaubensbekenntniss steht in Es dur, mit drei B-en in der Vorzeichnung: Bach, Beethoven, und Brahms!''<ref name="Slonimsky, p. 99">Slonimsky, p. 99</ref></blockquote>"B", in German, stands for the key of [[B-flat]]; because the flat symbol resembles a lower-case "b", it may also refer to any flat. Consequently, the remark may be translated, roughly, as<blockquote>My musical [[creed]] is in the key of [[E-flat]] major, and contains three flats in its [[key signature]]: Bach, Beethoven, and Brahms!</blockquote>Bülow had been attracted to the idea of a sort of [[Holy Trinity]] of classical music for a number of years, writing in the 1880s,<blockquote>I believe in Bach, the [[God|Father]], Beethoven, the [[Jesus Christ|Son]], and Brahms, the [[Holy Ghost]] of music.<ref name="Slonimsky, p. 99"/></blockquote>He further linked Beethoven and Brahms by referring to the latter's [[Symphony No. 1 (Brahms)|First Symphony]] as Beethoven's Tenth. Curiously enough, [[Nicolò Paganini]] had even earlier (1838) identified Berlioz as the worthy successor of Beethoven. Indeed, Hans von Bülow, two years before Cornelius' article, had himself called Berlioz "the immediate and most energetic successor of Beethoven".<ref name="Comini, p. 249">Comini, p. 249</ref> |
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[[Richard Wagner]] once proposed an alternate candidate for the third of the three ''B''s; this was [[Anton Bruckner]], a devoted Wagnerian. That appellation never took, and few remember that Berlioz was the original third B. |
[[Richard Wagner]] once proposed an alternate candidate for the third of the three ''B''s; this was [[Anton Bruckner]], a devoted Wagnerian. That appellation never took, and few remember that Berlioz was the original third B. |
Revision as of 05:37, 28 December 2011
"The Three Bs" is an English-language phrase derived from an expression coined by Peter Cornelius in 1854, which added Hector Berlioz as the third B to occupy the heights already occupied by Johann Sebastian Bach and Ludwig van Beethoven. Later in the century, the famous conductor Hans von Bülow would substitute Johannes Brahms for Berlioz. The phrase is generally used in discussions of classical music to refer to the supposed primacy of Bach, Beethoven, and Brahms in the field.
Origins
In an article in the Berliner Allgemeine Musikalische Zeitung, Cornelius introduces Berlioz as the third B, concluding his article with the cheer,
Bach, Beethoven, Berlioz![1]
Decades later, Bülow composed the following pun to a friend.
Mein musikalisches Glaubensbekenntniss steht in Es dur, mit drei B-en in der Vorzeichnung: Bach, Beethoven, und Brahms![2]
"B", in German, stands for the key of B-flat; because the flat symbol resembles a lower-case "b", it may also refer to any flat. Consequently, the remark may be translated, roughly, as
My musical creed is in the key of E-flat major, and contains three flats in its key signature: Bach, Beethoven, and Brahms!
Bülow had been attracted to the idea of a sort of Holy Trinity of classical music for a number of years, writing in the 1880s,
I believe in Bach, the Father, Beethoven, the Son, and Brahms, the Holy Ghost of music.[2]
He further linked Beethoven and Brahms by referring to the latter's First Symphony as Beethoven's Tenth. Curiously enough, Nicolò Paganini had even earlier (1838) identified Berlioz as the worthy successor of Beethoven. Indeed, Hans von Bülow, two years before Cornelius' article, had himself called Berlioz "the immediate and most energetic successor of Beethoven".[3]
Richard Wagner once proposed an alternate candidate for the third of the three Bs; this was Anton Bruckner, a devoted Wagnerian. That appellation never took, and few remember that Berlioz was the original third B.
Usage
Although the phrase "the three Bs" is generally associated with classical music, it may be found in the vocabulary of other disciplines as well. There are, for instance, three Bs of bass fishing,[4] the three Bs of the Hattrick federation "The Alliance", and three Bs of learning.[5] Generally speaking, however, the three Bs of music are the most frequently cited.
In popular culture
- In a Peanuts strip (published February 22, 1952), when Schroeder begins playing the piano, Charlie Brown says "You've heard of Bach, Brahms, and Beethoven, right? Well from now on it's going to be Schubert, Schumann, and Schroeder."
There are now a few more common usages of "the 3 B's": 1) a reference to the Houston Astros baseball team's top players - Jeff Bagwell, Craig Biggio, and Lance Berkman. 2) a reference to common components of a night out in the French Quarter of New Orleans, LA - Beads, Balconies, and (mechanical) Bull-riding.
Notes and references
- ^ Barzun, p. 76
- ^ a b Slonimsky, p. 99
- ^ Comini, p. 249
- ^ http://www.bassdozer.com/articles/three-b.shtml
- ^ Welcome to Sophomore Initiatives
- Jacques Barzun, Hector Berlioz and the Romantic Century, Vol. II, New York: Columbia University Press, 1969.
- Nicolas Slonimsky, Slonimsky's Book of Musical Anecdotes. New York; Schirmer Books, 1998.
- Alessandra Comini, The Changing Image of Beethoven, Santa Fe: Sunstone Press, 2008.