The Dance of the Dervishes
By far the most original of these numbers is “The Dance of the Dervishes,” the second one referred to. This brief but complete composition is full of striking originality and graphic realism. It is one in which Beethoven’s genius seems to have anticipated by half a century the pronounced modern trend toward descriptive or program music, and is as realistic a tone-painting as we might expect from the pen of Saint-Saëns, Wagner, or any of the recent writers. The dance was introduced into the play as an interesting local feature,—the dervishes being numerous in connection with the Turkish army,—and Beethoven naturally selected it as an effective subject for musical treatment. But, before speaking of their dancing as illustrated by Beethoven, it may be of sufficient historical interest to give a brief sketch of the dervishes themselves.
They developed as a sect or order from Mohammedanism after it was well established in the world. The name “dervishes,” which they assumed, comes from a Russian word which means “beggars from door to door.” The Arabic word which means the same thing is “fakirs.” So they are called dervishes or fakirs in different localities, but are the same body. They declared themselves Moslems, but their doctrines, in many respects, differed widely from those of Mohammed. Their beginnings are in obscurity, but they were a well-established order by the eleventh century. Their expressed beliefs, as we earliest come to know them, were chiefly and decidedly religious. They seemed to represent the spiritual and mystical side of Islam, having a philosophy much like that of the Hindus, and perhaps borrowed from them. Their central idea seemed to be that the soul is an emanation from God, and that man’s highest aim is to seek a total absorption in Him. Their various and strange rites and ceremonies seem only different ways by which they sought for union with the deity. In this way they claimed that they secured miraculous powers. At first they largely lived in convents, under rules and orders, giving themselves up to meditation and penance, observing the rules of poverty, abstinence from wine, and celibacy, in the higher classes. Their growth was rapid; but in time they largely fell away from their highest estate, ceased to be so strictly a religious body, broke up into various ranks and sub-orders, became more free from conventional rules, more nomadic, and more wild and fanatical; but their social and political influence ever increased, so that they have long been regarded as a dangerous element in the state. There are crowds of them all through the East that seem to belong to no society, wandering mendicants, and, though often skilled in trades, largely subsisting by professional jugglery, bigoted in their fantastic beliefs, and varying in their rites and strange ceremonies. And yet always and everywhere there is still some general adherence to the old appointed religious ways, a peculiar tie or affiliation with the distinctive body or sect, however differing in certain notions or modes of worship. The lowest devotee of them all claims that the dervishes or fakirs constitute a distinct body of religious believers in spite of all divisions and varieties in manifestation. They acknowledge no authority but that of their spiritual guides, as that of the Mahdi in the Soudan, where these fanatics have been so lately fighting the English. They agree also in not following the letter of the Koran, or the general teachings of its interpreters. As a whole body, in all its orders, all over the world, they seek, as an act of worship, to get into an ecstatic state. They do this in various ways: Sometimes by drinking hasheesh, but more generally by some physical or mental ways, and while under the excitement they perform astounding feats in jugglery or mysticism that really seem almost miraculous. We cannot stop to detail these different methods. One of them is the dance of a certain order which has received the name of the “dancing or whirling dervishes.”
This is the dance of Beethoven—an ingenious method of excitement and self-torture, and at the same time a strict religious ceremonial. It consists of little more than an exceedingly rapid gyration upon an imaginary pivot, spinning round and round like tops, with almost incredible velocity, till overcome by dizziness from the protracted rotary motion, or by physical exhaustion, they fall in a swoon, after passing through all the successive stages of delirious frenzy always attending intense fanatical religious excitement, no matter what the race or faith. The dance is accompanied by frantic gestures, wild cries, and doleful groans, and often by a species of weird oriental music, adapted to its rhythm, and intended to stimulate the dancers to greater excitement, and consequently greater exertion and speed.
This music, as well as a portrayal of the dance, Beethoven gives us in this composition, which has been admirably transcribed for the piano by Saint-Saëns. It begins softly and a little slowly. As the dancers gradually get under way and warmed to their task, it gradually grows in speed and power as the frenzy increases, till it reaches a furious, almost insane climax; then rapidly diminishes as, one by one, the dancers, exhausted or swooning, drop out of the circle.
It demands great freedom and facility in octave playing, and endless verve and abandon of style; and needs, to be comprehended and enjoyed by an audience, some explanation of its character and artistic signification, either given by the player or printed on the program.
| WEBER | |
| 1786 | 1826 |