tag:blogger.com,1999:blog-22559265596545367202024-03-19T04:21:29.326-07:00Art Zegelaar Piano Pagesph (31) 6 18963647
email: artzegelaar@gmail.comUnknownnoreply@blogger.comBlogger52125tag:blogger.com,1999:blog-2255926559654536720.post-22567742361304234522023-02-04T12:11:00.002-08:002023-02-04T12:11:49.706-08:00<p> </p><header aria-label="Kop voor nieuwsbrief" style="background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); display: var(--artdeco-reset-base-display-block); font-family: -apple-system, system-ui, BlinkMacSystemFont, "Segoe UI", Roboto, "Helvetica Neue", "Fira Sans", Ubuntu, Oxygen, "Oxygen Sans", Cantarell, "Droid Sans", "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Lucida Grande", Helvetica, Arial, sans-serif; font-size: 16px; margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><h1 class="text-display-large-bold pt6" dir="ltr" style="--artdeco-reset-typography_getfontsize: 4rem; --artdeco-reset-typography_getlineheight: 1.2; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-display-large); font-weight: var(--font-weight-bold); line-height: var(--line-height-default); margin: var(--artdeco-reset-base-margin-zero); outline: var(--artdeco-reset-base-outline-zero); padding-top: 32px !important; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Did I find the inspiration for Beethoven's Opus 109?</h1><ul class="reader-article-header__meta t-14 t-black--light t-normal mt4" style="--artdeco-reset-typography_getfontsize: 1.4rem; --artdeco-reset-typography_getlineheight: 1.42857; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text-low-emphasis); display: flex; flex-direction: row; font-size: var(--artdeco-reset-typography_getFontSize); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); list-style: none; margin-top: 16px !important; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><li class="reader-article-header__author-list-item" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-top: -2px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><a class="reader-author-info__edit-article artdeco-button artdeco-button--tertiary artdeco-button--1 ember-view" href="https://www.linkedin.com/post/edit/7027670320786374656/" id="ember624" style="align-items: center; background-color: var(--color-background-none); border-radius: var(--corner-radius-small) !important; border: none; box-sizing: border-box; cursor: pointer; display: inline-flex; font-family: inherit; font-size: 1.4rem; font-weight: 600; justify-content: center; line-height: 2rem; margin: var(--artdeco-reset-base-margin-zero); max-width: 480px; min-height: 2.4rem; min-width: 0px; overflow: hidden; padding-bottom: 0.2rem; padding-left: 0.8rem !important; padding-right: 0.8rem !important; padding-top: 0.2rem; text-align: center; text-decoration-line: none; touch-action: manipulation; transition-duration: 167ms; transition-property: background-color, box-shadow, color; transition-timing-function: cubic-bezier(0.4, 0, 0.2, 1); vertical-align: middle;"><li-icon aria-hidden="true" class="reader-article-header__author-button-icon artdeco-button__icon" size="small" style="box-sizing: inherit; display: inline-block; flex-shrink: 0; margin: 0px 4px 0px -2px; overflow: hidden; position: relative; vertical-align: middle;" type="edit"><svg class="mercado-match" data-supported-dps="16x16" fill="currentColor" focusable="false" height="16" viewbox="0 0 16 16" width="16" xmlns="http://www.w3.org/2000/svg"><path d="M14.13 1.86a3 3 0 00-4.17 0l-7 7L1 15l6.19-2 6.94-7a3 3 0 000-4.16zm-8.36 9.71l-1.35-1.34L9.64 5 11 6.35z"></path></svg></li-icon><span class="artdeco-button__text" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Artikel bewerken</span></a></li><li class="reader-article-header__author-list-item" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-top: -2px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><a class="artdeco-button artdeco-button--tertiary artdeco-button--1 reader-author-info__author-analytics ember-view" href="https://www.linkedin.com/analytics/post-summary/urn:li:activity:7027727481100980224/" id="ember625" style="align-items: center; background-color: var(--color-background-none); border-radius: var(--corner-radius-small) !important; border: none; box-sizing: border-box; cursor: pointer; display: inline-flex; font-family: inherit; font-size: 1.4rem; font-weight: 600; justify-content: center; line-height: 2rem; margin: var(--artdeco-reset-base-margin-zero); max-width: 480px; min-height: 2.4rem; min-width: 0px; overflow: hidden; padding-bottom: 0.2rem; padding-left: 0.8rem !important; padding-right: 0.8rem !important; padding-top: 0.2rem; text-align: center; text-decoration-line: none; touch-action: manipulation; transition-duration: 167ms; transition-property: background-color, box-shadow, color; transition-timing-function: cubic-bezier(0.4, 0, 0.2, 1); vertical-align: middle;"><li-icon aria-hidden="true" class="reader-article-header__author-button-icon artdeco-button__icon" size="small" style="box-sizing: inherit; display: inline-block; flex-shrink: 0; margin: 0px 4px 0px -2px; overflow: hidden; position: relative; vertical-align: middle;" type="analytics"><svg data-supported-dps="16x16" fill="currentColor" focusable="false" height="16" viewbox="0 0 16 16" width="16" xmlns="http://www.w3.org/2000/svg"><path d="M4 12h10v2H3a1 1 0 01-1-1V2h2v10zm9.31-9.93L10.25 4l1.09.58L10 7.21 7.7 6.06a.75.75 0 00-1 .33l-2 3.92 1.58.79 1.53-3 2.3 1.16a.75.75 0 001-.33l1.79-3.58 1.1.58V2.45a.45.45 0 00-.69-.38z"></path></svg></li-icon><span class="artdeco-button__text" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Statistieken weergeven</span></a></li></ul></header><div class="relative reader__grid mt6" style="background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); float: none; font-family: -apple-system, system-ui, BlinkMacSystemFont, "Segoe UI", Roboto, "Helvetica Neue", "Fira Sans", Ubuntu, Oxygen, "Oxygen Sans", Cantarell, "Droid Sans", "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Lucida Grande", Helvetica, Arial, sans-serif; font-size: 16px; margin-top: 32px !important; overflow-wrap: break-word; padding: var(--artdeco-reset-base-padding-zero); position: relative !important; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="reader-author-info__container" style="background-color: var(--color-background-container); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-bottom: 3.2rem; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline); z-index: 1;"><div class="display-flex align-items-center justify-space-between" style="align-items: center !important; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: flex !important; font-size: var(--artdeco-reset-base-font-size-hundred-percent); justify-content: space-between !important; margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="artdeco-entity-lockup artdeco-entity-lockup--size-4 ember-view" id="ember626" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: flex; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="artdeco-entity-lockup__image artdeco-entity-lockup__image--type-circle ember-view" id="ember627" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; flex-shrink: 0; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); position: relative; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);" type="circle"><a class="ember-view reader-author-info__meta-image" href="https://www.linkedin.com/in/art-zegelaar-3b793549/" id="ember628" style="background-color: var(--artdeco-reset-link-background-color-transparent); border: var(--artdeco-reset-link-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); font-weight: var(--font-weight-bold); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); text-decoration: var(--artdeco-reset-link-text-decoration-none); touch-action: manipulation; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="feed-shared-avatar-image b0 member" style="background: var(--artdeco-reset-base-background-transparent); border: 0px !important; box-sizing: inherit; flex-shrink: 0; font-size: var(--artdeco-reset-base-font-size-hundred-percent); line-height: 0; margin: var(--artdeco-reset-base-margin-zero); overflow: hidden; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="presence-entity presence-entity--size-4" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: flex; font-size: var(--artdeco-reset-base-font-size-hundred-percent); height: 56px; margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); position: relative; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 56px;"><img alt="Art Zegelaar" class="presence-entity__image avatar member EntityPhoto-circle-4 EntityPhoto-circle-4 lazy-image ember-view" id="ember629" loading="lazy" src="https://media.licdn.com/dms/image/C5603AQEXwLg0fALtjw/profile-displayphoto-shrink_100_100/0/1622537992336?e=1680739200&v=beta&t=RaAYUghvQsk_hJmEkoZIF7U0MQ6GlKcyLMkl8zIyols" style="background-clip: content-box; background-color: var(--color-background-container); background-size: cover; border-radius: var(--corner-radius-full) !important; border: none; box-shadow: none; box-sizing: border-box; color: var(--color-text); font-size: var(--artdeco-reset-base-font-size-hundred-percent); height: 56px; margin: var(--artdeco-reset-base-margin-zero); max-height: 100%; max-width: 100%; outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: bottom; width: 56px;" /><div class="presence-entity__indicator
presence-entity__indicator--size-4 presence-indicator
presence-indicator--is-online
presence-indicator--size-4" style="animation: 167ms ease-in 0s 1 normal none running fade-in; background: var(--color-signal-positive); border-radius: 50%; border: var(--artdeco-reset-base-border-zero); bottom: 0px; box-shadow: 0 0 0 2px var(--color-background-container); box-sizing: border-box; flex-shrink: 0; font-size: var(--artdeco-reset-base-font-size-hundred-percent); height: 12px; margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); position: absolute; right: 0px; transition: background 167ms ease-in-out 0s; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 12px;"><span class="visually-hidden" style="background: var(--artdeco-reset-base-background-transparent); border: 0px !important; box-sizing: inherit; clip: rect(0px, 0px, 0px, 0px) !important; display: block !important; font-size: var(--artdeco-reset-base-font-size-hundred-percent); height: 1px !important; margin: -1px !important; outline: var(--artdeco-reset-base-outline-zero); overflow: hidden !important; padding: 0px !important; position: absolute !important; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space: nowrap !important; width: 1px !important;">Status is online</span></div></div></div></a></div><div class="reader-author-info__content artdeco-entity-lockup__content ember-view" id="ember630" style="align-self: center; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); max-width: 100%; padding-left: var(--spacing-one-x) !important; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="reader-author-info__author-lockup--flex artdeco-entity-lockup__title ember-view" id="ember631" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text) !important; display: flex; font-family: var(--artdeco-typography-sans); font-size: var(--artdeco-reset-typography_getFontSize); font-weight: var(--artdeco-reset-typography-font-weight-bold); line-height: var(--artdeco-reset-typography_getLineHeight); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><a class="ember-view reader-author-info__meta-name align-items-center" href="https://www.linkedin.com/in/art-zegelaar-3b793549/" id="ember632" style="align-items: center !important; background-color: var(--artdeco-reset-link-background-color-transparent); border: var(--artdeco-reset-link-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); font-weight: var(--font-weight-bold); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); text-decoration: var(--artdeco-reset-link-text-decoration-none); touch-action: manipulation; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><h2 class="reader-author-info__text reader-author-info__name t-16 t-bold reader-author-info__meta-author-detail--has-hover mr2" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--artdeco-reset-typography_getFontSize); font-weight: var(--artdeco-reset-typography-font-weight-bold); line-height: var(--artdeco-reset-typography_getLineHeight); margin-right: 8px !important; max-width: 100%; outline: var(--artdeco-reset-base-outline-zero); overflow: hidden; padding: var(--artdeco-reset-base-padding-zero); text-overflow: ellipsis; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space: nowrap;">Art Zegelaar</h2></a></div><div class="artdeco-entity-lockup__subtitle ember-view" id="ember633" style="--artdeco-reset-typography_getfontsize: 1.4rem; --artdeco-reset-typography_getlineheight: 1.42857; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text) !important; font-family: var(--artdeco-typography-sans); font-size: var(--artdeco-reset-typography_getFontSize); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ember-view lt-line-clamp lt-line-clamp--multi-line t-black--light break-words" id="ember634" style="-webkit-box-orient: vertical; -webkit-line-clamp: 2; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text-low-emphasis); display: -webkit-box; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); overflow-wrap: break-word !important; overflow: hidden; padding: var(--artdeco-reset-base-padding-zero); position: relative; text-overflow: ellipsis; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); word-break: break-word !important;">Founder of de Muziek Experience</div></div></div></div><div class="flex-shrink-zero ml2" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; flex-shrink: 0 !important; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-left: 8px !important; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><a class="ember-view reader-author-info__total-articles link-without-visited-state" href="https://www.linkedin.com/in/art-zegelaar-3b793549/recent-activity/posts/" id="ember635" style="background-color: var(--artdeco-reset-link-background-color-transparent); border: var(--artdeco-reset-link-border-zero); box-sizing: inherit; font-size: 14px; font-weight: var(--font-weight-bold); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); text-decoration: var(--artdeco-reset-link-text-decoration-none); touch-action: manipulation; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">27 artikelen</a></div></div><div class="mt3" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-top: 12px !important; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><time class="text-body-small-open t-black--light" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text-low-emphasis); font-size: var(--font-size-small); font-weight: var(--font-weight-regular); line-height: var(--line-height-open); margin: var(--artdeco-reset-base-margin-zero); outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">4 februari 2023</time></div></div><div style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="reader-article-content reader-article-content--content-blocks reader-article-content--x-theme" dir="ltr" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">While practising the Variations of Piano Sonate Opus 109 in E. The theme resonated deep in my soul and it kept reminding me of a Choir composition I had just the month before played with several Choirs. Could it be? So I started searching but found nothing. Making enquiries at a good friend of mine, Alberto Portugheis, Vice President of the Beethoven Society of Europe, gave as a result that it was not known where the Air of the variations came from and Beethoven had composed it himself. The first movement of the Sonata was added to it at a later date.</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">But I soon started recognising many quotations from a composition of Silesian origin and a German kapelmeister had added some orchestral accompaniment. Joseph Schnabel lived from 1767-1831 and was a contemporary musician with Beethoven. Transeamus usque Bethlehem is performed played around Christmas and it is very well possible that Beethoven had heard it and was inspired by it.</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Only the theme to go by was a bit meagre, hence I started looking for more quotations and the emotions connected to them. I was not disappointed.</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">But let us start with the theme, which prompted my quest.</p><div class="reader-image-block reader-image-block--full-width" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; clear: both; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-bottom: var(--spacing-four-x); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><figure class="reader-image-block__figure" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: var(--artdeco-reset-base-display-block); font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-image-view-model " style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-view-attr__img-wrapper ivm-view-attr__img-wrapper--use-img-tag display-flex
" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: flex !important; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><img alt="Geen alternatieve tekst opgegeven voor deze afbeelding" class="ivm-view-attr__img--centered reader-image-block__img lazy-image ember-view" id="ember636" loading="lazy" src="https://media.licdn.com/dms/image/D4E12AQECmu1ZeUuCaQ/article-inline_image-shrink_1500_2232/0/1675529474774?e=1680739200&v=beta&t=37yDQQxqdMNTXjddxNyPiyzuew8NKx2Kzs2QpQLRvJw" style="background-position: 50% center; background-size: cover; border-radius: 0px; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--artdeco-reset-base-font-size-hundred-percent); height: auto; margin: var(--artdeco-reset-base-margin-zero); max-width: 100%; object-fit: cover; object-position: center center; outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;" /></div></div><figcaption class="display-block mt2 full-width text-body-small-open t-sans text-align-center t-black--light" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text-low-emphasis); display: var(--artdeco-reset-base-display-block); font-family: var(--artdeco-typography-sans); font-size: var(--font-size-small); font-weight: var(--font-weight-regular); line-height: var(--line-height-open); margin-top: 8px !important; padding: var(--artdeco-reset-base-padding-zero); text-align: center !important; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;">Transeamus usque Bethlehem</figcaption></figure></div><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Beethoven's theme of the Air reads:</p><div class="reader-image-block reader-image-block--full-width" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; clear: both; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-bottom: var(--spacing-four-x); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><figure class="reader-image-block__figure" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: var(--artdeco-reset-base-display-block); font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-image-view-model " style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-view-attr__img-wrapper ivm-view-attr__img-wrapper--use-img-tag display-flex
" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: flex !important; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><img alt="Geen alternatieve tekst opgegeven voor deze afbeelding" class="ivm-view-attr__img--centered reader-image-block__img lazy-image ember-view" id="ember637" loading="lazy" src="https://media.licdn.com/dms/image/D4E12AQGv6rm8kjBZ6w/article-inline_image-shrink_1500_2232/0/1675530099091?e=1680739200&v=beta&t=MJr9U6WAZ5tHBwlMJnKrZe4vROXvcqOSzPyLVIvF-38" style="background-position: 50% center; background-size: cover; border-radius: 0px; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--artdeco-reset-base-font-size-hundred-percent); height: auto; margin: var(--artdeco-reset-base-margin-zero); max-width: 100%; object-fit: cover; object-position: center center; outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;" /></div></div><figcaption class="display-block mt2 full-width text-body-small-open t-sans text-align-center t-black--light" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text-low-emphasis); display: var(--artdeco-reset-base-display-block); font-family: var(--artdeco-typography-sans); font-size: var(--font-size-small); font-weight: var(--font-weight-regular); line-height: var(--line-height-open); margin-top: 8px !important; padding: var(--artdeco-reset-base-padding-zero); text-align: center !important; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;">Beethoven's Air theme from Opus 109</figcaption></figure></div><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Beethoven gives the initial theme three times, the second time moving to the upper-dominant. The Transeamus theme is the same, moving to the dominant and then descending to the 7th of this dominant. Also Beethoven did this. Then there is a descent in thirds, but Beethoven moves to the dominant and Transeamus returns to the Tonic, hence the descent in thirds is a bit longer there..</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Hmm... For me this seems very obvious. But I could not imagine that nobody has ever noticed. Or perhaps the Beethoven police was hard at work? Beethoven was a son of the Enlightenment and would not as would Bach be influenced by a Church composition. Wouldn't he?</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">I needed more.</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Initially, probably, the Air was ment to be a second movement, with the Prestissimo being the first. So no wonder we find a reference to the theme in the middle of Transeamus. I would have to look at the Prestissimo movement to look for some more clues. I now was looking for the possibility of Opus 109 being influenced by Transeamus. Because if that was a plausible possibility, then it would automatically result in the conclusion that the Air of Opus 109 was inspired by Transeamus.</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">I did not expect to find anything remotely useful, but to the contrary I was overwhelmed by what I found.</p><div class="reader-image-block reader-image-block--full-width" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; clear: both; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-bottom: var(--spacing-four-x); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><figure class="reader-image-block__figure" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: var(--artdeco-reset-base-display-block); font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-image-view-model " style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-view-attr__img-wrapper ivm-view-attr__img-wrapper--use-img-tag display-flex
" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: flex !important; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><img alt="Geen alternatieve tekst opgegeven voor deze afbeelding" class="ivm-view-attr__img--centered reader-image-block__img lazy-image ember-view" id="ember638" loading="lazy" src="https://media.licdn.com/dms/image/D4E12AQGGEZPepkNXMA/article-inline_image-shrink_1500_2232/0/1675532548913?e=1680739200&v=beta&t=CPKIw9Pes46QGJJYjqXPfdD2-pGEqCNmzNgZFcac2rc" style="background-position: 50% center; background-size: cover; border-radius: 0px; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--artdeco-reset-base-font-size-hundred-percent); height: auto; margin: var(--artdeco-reset-base-margin-zero); max-width: 100%; object-fit: cover; object-position: center center; outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;" /></div></div><figcaption class="display-block mt2 full-width text-body-small-open t-sans text-align-center t-black--light" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text-low-emphasis); display: var(--artdeco-reset-base-display-block); font-family: var(--artdeco-typography-sans); font-size: var(--font-size-small); font-weight: var(--font-weight-regular); line-height: var(--line-height-open); margin-top: 8px !important; padding: var(--artdeco-reset-base-padding-zero); text-align: center !important; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;">Transeamus, Opening</figcaption></figure></div><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Transeamus offers a boisterous statement of ascending notes of the Tonic chord of G major, whereas Beethoven does this the key of E minor.</p><div class="reader-image-block reader-image-block--full-width" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; clear: both; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-bottom: var(--spacing-four-x); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><figure class="reader-image-block__figure" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: var(--artdeco-reset-base-display-block); font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-image-view-model " style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-view-attr__img-wrapper ivm-view-attr__img-wrapper--use-img-tag display-flex
" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: flex !important; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><img alt="Geen alternatieve tekst opgegeven voor deze afbeelding" class="ivm-view-attr__img--centered reader-image-block__img lazy-image ember-view" id="ember639" loading="lazy" src="https://media.licdn.com/dms/image/D4E12AQFtMLPhRFmwbA/article-inline_image-shrink_1500_2232/0/1675532905297?e=1680739200&v=beta&t=RTG_wrgpTc1-a4yx6DJq8fex5Zy-Cv7RzNPo0-SKNTw" style="background-position: 50% center; background-size: cover; border-radius: 0px; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--artdeco-reset-base-font-size-hundred-percent); height: auto; margin: var(--artdeco-reset-base-margin-zero); max-width: 100%; object-fit: cover; object-position: center center; outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;" /></div></div><figcaption class="display-block mt2 full-width text-body-small-open t-sans text-align-center t-black--light" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text-low-emphasis); display: var(--artdeco-reset-base-display-block); font-family: var(--artdeco-typography-sans); font-size: var(--font-size-small); font-weight: var(--font-weight-regular); line-height: var(--line-height-open); margin-top: 8px !important; padding: var(--artdeco-reset-base-padding-zero); text-align: center !important; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;">Prestissimo Opus 109 Opening</figcaption></figure></div><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Then Transeamus descends to the sub-dominant and closes in the Tonic. Beethoven keeps ascending, but also by switching to the subdominant and ending in the Tonic chord. Both final cadenz sequences are very similar.</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">With Beethoven, this opening is a single statement in fortissimo. He proceeds after this with a lyrical <span style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); font-style: var(--artdeco-reset-typography-font-style-italic); margin: var(--artdeco-reset-base-margin-zero); outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">piano</span> response to this statement. Also Transeamus is a statement. A statement about going somewhere.</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">But also consider this:</p><div class="reader-image-block reader-image-block--full-width" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; clear: both; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-bottom: var(--spacing-four-x); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><figure class="reader-image-block__figure" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: var(--artdeco-reset-base-display-block); font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-image-view-model " style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-view-attr__img-wrapper ivm-view-attr__img-wrapper--use-img-tag display-flex
" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: flex !important; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><img alt="Geen alternatieve tekst opgegeven voor deze afbeelding" class="ivm-view-attr__img--centered reader-image-block__img lazy-image ember-view" id="ember640" loading="lazy" src="https://media.licdn.com/dms/image/D4E12AQG41H_T06WwKA/article-inline_image-shrink_1500_2232/0/1675533666260?e=1680739200&v=beta&t=cr_qXMDKhLWOK3ip0ri_8GPoQRn04r5bxFmJoGShvik" style="background-position: 50% center; background-size: cover; border-radius: 0px; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--artdeco-reset-base-font-size-hundred-percent); height: auto; margin: var(--artdeco-reset-base-margin-zero); max-width: 100%; object-fit: cover; object-position: center center; outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;" /></div></div><figcaption class="display-block mt2 full-width text-body-small-open t-sans text-align-center t-black--light" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text-low-emphasis); display: var(--artdeco-reset-base-display-block); font-family: var(--artdeco-typography-sans); font-size: var(--font-size-small); font-weight: var(--font-weight-regular); line-height: var(--line-height-open); margin-top: 8px !important; padding: var(--artdeco-reset-base-padding-zero); text-align: center !important; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;">small adaptation of the Transeamus theme</figcaption></figure></div><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">A small adaptation of the Transeamus theme uncovers more similarity.</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Ok. For a start that is not disappointing. Is there more?</p><div class="reader-image-block reader-image-block--full-width" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; clear: both; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-bottom: var(--spacing-four-x); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><figure class="reader-image-block__figure" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: var(--artdeco-reset-base-display-block); font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-image-view-model " style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-view-attr__img-wrapper ivm-view-attr__img-wrapper--use-img-tag display-flex
" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: flex !important; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><img alt="Geen alternatieve tekst opgegeven voor deze afbeelding" class="ivm-view-attr__img--centered reader-image-block__img lazy-image ember-view" id="ember641" loading="lazy" src="https://media.licdn.com/dms/image/D4E12AQEm4Z0lw_qLBA/article-inline_image-shrink_1500_2232/0/1675537329128?e=1680739200&v=beta&t=_2CQUZvZVY8qzF9FH2yn1Cmfs_xmKDyFfGkwSdj1wK4" style="background-position: 50% center; background-size: cover; border-radius: 0px; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--artdeco-reset-base-font-size-hundred-percent); height: auto; margin: var(--artdeco-reset-base-margin-zero); max-width: 100%; object-fit: cover; object-position: center center; outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;" /></div></div><figcaption class="display-block mt2 full-width text-body-small-open t-sans text-align-center t-black--light" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text-low-emphasis); display: var(--artdeco-reset-base-display-block); font-family: var(--artdeco-typography-sans); font-size: var(--font-size-small); font-weight: var(--font-weight-regular); line-height: var(--line-height-open); margin-top: 8px !important; padding: var(--artdeco-reset-base-padding-zero); text-align: center !important; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;">left Transeamus right Beethoven</figcaption></figure></div><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"></p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">In the response Beethoven reworks what the reason is for his bold opening. Is he going somewhere? In Transeamus the cause is given too. usque Bethlehem. The material found also in de accompaniment of Transeamus is a striking similarity.</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Let us look what the excitement in Transeamus is about:</p><div class="reader-image-block reader-image-block--resize" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; clear: both; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-bottom: var(--spacing-four-x); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><figure class="reader-image-block__figure" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: var(--artdeco-reset-base-display-block); font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-image-view-model " style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-view-attr__img-wrapper ivm-view-attr__img-wrapper--use-img-tag display-flex
" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: flex !important; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><img alt="Geen alternatieve tekst opgegeven voor deze afbeelding" class="ivm-view-attr__img--centered reader-image-block__img lazy-image ember-view" id="ember642" loading="lazy" src="https://media.licdn.com/dms/image/D4E12AQGdty-OUNpgRg/article-inline_image-shrink_1500_2232/0/1675535009781?e=1680739200&v=beta&t=Sb2P3ZONbOlAAj5bfWLcwSw6RfMqWtpZUO4K2Wc-wvE" style="background-position: 50% center; background-size: cover; border-radius: 0px; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); display: block; font-size: var(--artdeco-reset-base-font-size-hundred-percent); height: auto; margin: 0px auto; max-width: 100%; object-fit: cover; object-position: center center; outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);" /></div></div></figure></div><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">In Transeamus they are going so see how the Logos became a human born baby. But Beethoven is equally excited about the purpose of his Statement.</p><div class="reader-image-block reader-image-block--resize" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; clear: both; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-bottom: var(--spacing-four-x); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><figure class="reader-image-block__figure" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: var(--artdeco-reset-base-display-block); font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-image-view-model " style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-view-attr__img-wrapper ivm-view-attr__img-wrapper--use-img-tag display-flex
" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: flex !important; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><img alt="Geen alternatieve tekst opgegeven voor deze afbeelding" class="ivm-view-attr__img--centered reader-image-block__img lazy-image ember-view" id="ember643" loading="lazy" src="https://media.licdn.com/dms/image/D4E12AQEH3VTZ7Dgq5w/article-inline_image-shrink_1500_2232/0/1675535494393?e=1680739200&v=beta&t=kRoopQiFatnxdSQDdfjWdsFK8yE-8UvWQc2GCi4nC8Q" style="background-position: 50% center; background-size: cover; border-radius: 0px; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); display: block; font-size: var(--artdeco-reset-base-font-size-hundred-percent); height: auto; margin: 0px auto; max-width: 100%; object-fit: cover; object-position: center center; outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);" /></div></div><figcaption class="display-block mt2 full-width text-body-small-open t-sans text-align-center t-black--light" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text-low-emphasis); display: var(--artdeco-reset-base-display-block); font-family: var(--artdeco-typography-sans); font-size: var(--font-size-small); font-weight: var(--font-weight-regular); line-height: var(--line-height-open); margin-top: 8px !important; padding: var(--artdeco-reset-base-padding-zero); text-align: center !important; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;">bars 61 62 in Beethoven</figcaption></figure></div><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Not convinced yet? Let's see how these expressions of excitement end in both.</p><div class="reader-image-block reader-image-block--full-width" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; clear: both; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-bottom: var(--spacing-four-x); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><figure class="reader-image-block__figure" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: var(--artdeco-reset-base-display-block); font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-image-view-model " style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-view-attr__img-wrapper ivm-view-attr__img-wrapper--use-img-tag display-flex
" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: flex !important; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><img alt="Geen alternatieve tekst opgegeven voor deze afbeelding" class="ivm-view-attr__img--centered reader-image-block__img lazy-image ember-view" id="ember644" loading="lazy" src="https://media.licdn.com/dms/image/D4E12AQG7Kv34Wt0LRw/article-inline_image-shrink_1500_2232/0/1675536831164?e=1680739200&v=beta&t=sHj4sH2AHRM5bYsnJUz3mpSta9w67nCd-lGtHEOQz-c" style="background-position: 50% center; background-size: cover; border-radius: 0px; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--artdeco-reset-base-font-size-hundred-percent); height: auto; margin: var(--artdeco-reset-base-margin-zero); max-width: 100%; object-fit: cover; object-position: center center; outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;" /></div></div><figcaption class="display-block mt2 full-width text-body-small-open t-sans text-align-center t-black--light" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text-low-emphasis); display: var(--artdeco-reset-base-display-block); font-family: var(--artdeco-typography-sans); font-size: var(--font-size-small); font-weight: var(--font-weight-regular); line-height: var(--line-height-open); margin-top: 8px !important; padding: var(--artdeco-reset-base-padding-zero); text-align: center !important; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;">Beethoven bars 72-79</figcaption></figure></div><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><br style="box-sizing: inherit;" /></p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Beethoven extends the repeated notes over a multitude of bars, he does so much more with whatever material. But both end in the same way. Transemus in a return to the Tonic of G major, but Beethoven to the dominant Key of B and then he repeats it in bar 76-79 in Tonic key of E minor. But Beethoven reworks it in marvelous extended counterpoint.</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">It looks like all the material used in the Prestissimo has striking similarities with the material found in Transeamus. The material in the middle of Transeamus 'Mariam et Joseph et infantum positum in preasipio' is found in the Air used for the variations.</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Leaves still one bit of material in the Transeamus unused. The 'Gloria'!</p><div class="reader-image-block reader-image-block--full-width" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; clear: both; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin-bottom: var(--spacing-four-x); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><figure class="reader-image-block__figure" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: var(--artdeco-reset-base-display-block); font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-image-view-model " style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><div class="ivm-view-attr__img-wrapper ivm-view-attr__img-wrapper--use-img-tag display-flex
" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; display: flex !important; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><img alt="Geen alternatieve tekst opgegeven voor deze afbeelding" class="ivm-view-attr__img--centered reader-image-block__img lazy-image ember-view" id="ember645" loading="lazy" src="https://media.licdn.com/dms/image/D4E12AQF7fvlC7g8d0Q/article-inline_image-shrink_1500_2232/0/1675539289562?e=1680739200&v=beta&t=6zZjcMjd8DC-IzD0JbZGVJ2wQbtLHHqns3gp7ydJSEE" style="background-position: 50% center; background-size: cover; border-radius: 0px; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--artdeco-reset-base-font-size-hundred-percent); height: auto; margin: var(--artdeco-reset-base-margin-zero); max-width: 100%; object-fit: cover; object-position: center center; outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;" /></div></div><figcaption class="display-block mt2 full-width text-body-small-open t-sans text-align-center t-black--light" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text-low-emphasis); display: var(--artdeco-reset-base-display-block); font-family: var(--artdeco-typography-sans); font-size: var(--font-size-small); font-weight: var(--font-weight-regular); line-height: var(--line-height-open); margin-top: 8px !important; padding: var(--artdeco-reset-base-padding-zero); text-align: center !important; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); width: 720px;">left Transeamus right Beethoven Final Variation 6.<span class="white-space-pre" style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); margin: var(--artdeco-reset-base-margin-zero); outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space: pre !important;"> </span></figcaption></figure></div><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><br style="box-sizing: inherit;" /></p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Beethoven alludes to it in the final variation. Number VI. But he extends it there in a never ending set of trills in left and right hand as final homage to his creator. What does this all mean? That in Beethoven the ultimate enlightenment en human achievement Transcends into a homage to the born logos?</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">For me it seems obvious that Beethoven was influenced by Transeamus, and he had already written two movements for it the Prestissimo as first movement and the Air as second movement. Later he decided to use another movement as movement, go overboard with the 'obligatory' second movement as air, boldly putting the Prestissimo there. Hence the Air became the final movement of a new Sonata. Perhaps he added the second variation to make a reference to the newly added first movement. And ended with the spectacularly spiritual last variation.</p><p class="reader-text-block__paragraph" style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); font-size: var(--font-size-large); font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: 1.75; margin: 1.6rem 0px; padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">Art Zegelaar (c) 2023 The Music Experience. <span style="background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; font-size: var(--artdeco-reset-base-font-size-hundred-percent); font-style: var(--artdeco-reset-typography-font-style-italic); margin: var(--artdeco-reset-base-margin-zero); outline: var(--artdeco-reset-base-outline-zero); padding: var(--artdeco-reset-base-padding-zero); vertical-align: var(--artdeco-reset-base-vertical-align-baseline);">All rights reserved.</span></p></div></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-74522929962733796872022-05-27T11:15:00.004-07:002022-05-27T11:25:27.666-07:00<h2 style="text-align: left;">Reviving Beethoven cycle </h2><p>I recently decided to revive my desire to go through all Beethoven Sonata's and study the progress Beethoven made in his own composition techniques and look at the question, which since long occupies my mind. Composers do certain things in certain keys and of course surely in Beethoven's case this is only logical. He was a very good improviser and although Beethoven crafted his compositions like an architect, still improvisation will have been an important basis. </p><p>For this reason I decided to go through the Beethoven Sonata's according to their keys from C minor till B major. Of course this puts the key of Bb near the end, and who understands my relief may comment on it. </p><p>So we start with the first Sonata in Cm. </p><h3 style="text-align: left;">Sonata no. 5 opus 10 no. 1 in Cm</h3><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/NEjFeQDOYsA" width="320" youtube-src-id="NEjFeQDOYsA"></iframe></div><br /><p><b>Movement 1: Allegro molto e con brio</b></p><p>The first movement is in Sonata Form. Probably for the young Beethoven still no question about that. But where the first 4 Sonatas are 'grande' Sonatas this is the first sonata where Beethoven aims for shorter. Not only top pianists should be able to play his compositions he may have thought. </p><p>The first theme consists of rising broken chords in forte with quiet chord progressions in between. But the effect is a powerful symphonic opening in 22 bars with 8 bars coda. </p><p><i>The first Theme in Cm</i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbktRUb9wPzMCsklE1RR8f0TmQgYWZwmNDrf5GwOWSP0jC_g7z1HmuSqM4--OvUQJTFdYjA9d3CwPnI9z_ven6uUfSRbAdV0uPFVzylRN5se3ZpZKT1S3Q4dWLRUOc_UbYqJs-DTKyOAXHUqHB3AthDF0Zt_XcQhdX_vFmcXaVvZhKBHO_P8i1WWRG/s789/No5_1_1.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="206" data-original-width="789" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbktRUb9wPzMCsklE1RR8f0TmQgYWZwmNDrf5GwOWSP0jC_g7z1HmuSqM4--OvUQJTFdYjA9d3CwPnI9z_ven6uUfSRbAdV0uPFVzylRN5se3ZpZKT1S3Q4dWLRUOc_UbYqJs-DTKyOAXHUqHB3AthDF0Zt_XcQhdX_vFmcXaVvZhKBHO_P8i1WWRG/w629-h165/No5_1_1.png" width="629" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br />The opening chord of Cm just happens with all C-minor Sonatas as we shall later see, but it is not standing on its own. It is itself part of the theme of rising notes. I display them here in its bare essential meaning. There are semiquaver upbeats to each note. <p></p><p><i>The second Theme in Eb</i></p><p>The second theme already starts in bar 32 with an interesting break of one bar before. It must be in contrast. And ofcourse it is. Since it is the relative major, there is no real modulation towards it. It just starts in Eb one bar after the first theme ended in Cm. It is not fierce but a <i>cantabile</i> melody with a quietly stepwise progressing harmony. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtRmhKbJSiO-VD75XFOiGgVGoZtzvV8-wrCh_DwJxFuT3l4ZcVRl0J01wwrZhRmlmIFrQCEpX4swEs1GebwxTQ5aJxNWAcxMQPUtznvVTdbiRLApFt0NO7QuJ1At_froacwjJBQEK1y9X5Y-22uUUbNHpsiEeG6tpzv3jF8_swG5xY9KnjMX-wVAtD/s802/No5_1_2.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="206" data-original-width="802" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtRmhKbJSiO-VD75XFOiGgVGoZtzvV8-wrCh_DwJxFuT3l4ZcVRl0J01wwrZhRmlmIFrQCEpX4swEs1GebwxTQ5aJxNWAcxMQPUtznvVTdbiRLApFt0NO7QuJ1At_froacwjJBQEK1y9X5Y-22uUUbNHpsiEeG6tpzv3jF8_swG5xY9KnjMX-wVAtD/w624-h160/No5_1_2.png" width="624" /></a></div><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>Note also the gorgeously delicate staccato rising scales in bar 64 and 68. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfubIaDAdr-dKP7_r55H5z8iFk_WX3K8lb_-YDDKXfwJXMJQ41dfQe7TRIPqdZIv9JFOdRL1uocrmQPW1Ly4hsfsIU_T9oCOqnTCb9b7swUeKWcGaqQ6-AhjEtlZ_N6bS9bd2ffpmQyzXtCwrMmszLv8QTIE9LgFRi7IGk2Htkq7Qs7CrZ8CtlNQkY/s665/No5_1_3.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="99" data-original-width="665" height="92" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfubIaDAdr-dKP7_r55H5z8iFk_WX3K8lb_-YDDKXfwJXMJQ41dfQe7TRIPqdZIv9JFOdRL1uocrmQPW1Ly4hsfsIU_T9oCOqnTCb9b7swUeKWcGaqQ6-AhjEtlZ_N6bS9bd2ffpmQyzXtCwrMmszLv8QTIE9LgFRi7IGk2Htkq7Qs7CrZ8CtlNQkY/w612-h92/No5_1_3.png" width="612" /></a></div><br /><p><br /></p><p><br /></p><p><br /></p><p>The coda (bar 86) of<i> the exposition</i> reminds of the first theme. Broken chords again in the rhytmic patterns of the first theme. And surely ending in Eb. Amazingly simple and yet the whole exposition is very symphonic, as with all Beethoven Sonatas. </p><p>Without any warning <i>the development section</i> starts in C-major. The other relative of C-minor. It mixes ideas from both themes, without presenting real new material. I am in love with the ending of the development section, with the long <i>dominant bass organpoint</i>:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFHscFAOy8HjMmPPJzqpCF9uUdL4_ZzpqLop8Ng_4nUD7ZjFYPXGV1jH-9Fbg4tEgr0Jkb6_Ua7T2auyBjJXqYQ_YuIcV6sgZfxNuASZJ_So9c8drmKPzbQZZLoyFyFWhpjFwFWd5cgElJjWYchPAXnbmfQM9lOHb4Xf-1axYsHbR7LyprCzY5JK2w/s804/No5_1_4.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="804" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFHscFAOy8HjMmPPJzqpCF9uUdL4_ZzpqLop8Ng_4nUD7ZjFYPXGV1jH-9Fbg4tEgr0Jkb6_Ua7T2auyBjJXqYQ_YuIcV6sgZfxNuASZJ_So9c8drmKPzbQZZLoyFyFWhpjFwFWd5cgElJjWYchPAXnbmfQM9lOHb4Xf-1axYsHbR7LyprCzY5JK2w/w522-h272/No5_1_4.png" width="522" /></a></div><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>In the <i>reprise</i> nothing really happens, which is not pure Sonata Form, which is why I like to give this Sonata as a first to students, because it is so very wel suited to explain and understand Sonata Form.</p><p><b>Movement 2: Adagio Molto</b></p><p>In a classical sonata the second movement is a <i>variation model</i> on an <i>Aria </i>(song) theme. It is in Ab here. We will see that many techniques Beethoven does here, also happen in the next Sonata in Cm (the Pathetique). for instance bar 28:<br /><br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwQWEQNHxV2ea9jklgi108dmeiCMvp52qbErf3QwGmGkpEhVOXGcRRYQwxXyT6Ba9SbzONpG-wZ_VSjEs2tNV35gf-JJA7oa26Qx1Xw5yc1AQYA0DSYFxjZ75rhYHxtGK5sUzS6yFB-oob_M6wJ4wV6Yd2WhSOweYdzlaAhrRKYuEaEadDMZ4lmZzr/s303/No5_1_5.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="108" data-original-width="303" height="108" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwQWEQNHxV2ea9jklgi108dmeiCMvp52qbErf3QwGmGkpEhVOXGcRRYQwxXyT6Ba9SbzONpG-wZ_VSjEs2tNV35gf-JJA7oa26Qx1Xw5yc1AQYA0DSYFxjZ75rhYHxtGK5sUzS6yFB-oob_M6wJ4wV6Yd2WhSOweYdzlaAhrRKYuEaEadDMZ4lmZzr/s1600/No5_1_5.png" width="303" /></a></div><br /><p><br /></p><p><br /></p><p><br /></p><p><b><br /></b></p><p><b><br /></b></p><p><b>Movement 3: Prestissimo</b></p><p>Beethoven dispenses for the first time with a <i>Menuet </i>(or<i> Scherzo/Allegretto</i>) with <i>Trio</i>, which he finds obsolete or too old fashioned. He immediately proceeds with the last movement. The feel is prestissimo, but this is not necessarily the real speed. The bar is to be felt in 2 and this is a blink towards Haydn. The movement is supposed to be a <i>rondo, </i>but<i> </i>is really in Sonata form. That's the form Beethoven likes best. Because it is the last movement, the two themes are not really that much in contrast, but the first is in Cm and the second in Eb. They both convey the same lively feel of speed and that ofcourse gives it the suggestion of a <i>Rondo</i>. Beethoven knows what he is doing. And then note: The shortest <i>development section</i> ever. A mere 12 bars. </p><p><i>The first Theme</i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieUO0mFVA4dqYd-x95nu6TiS__wsAKvUsFn6x_YE2jnLbXwi9wXSk2XaTKTXA1hxB31Cm5yie3UJ71KR4qcr28-ERwagBR-awpjypYArQZKn2I4vIIDwhd0hehwzVlWfmj4OZb4Y3NG9Kp1pyXlERRFI6WETkWeV5PEoEV_omSbxBSbqoaTGkIFsnR/s720/No5_1_6.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="192" data-original-width="720" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieUO0mFVA4dqYd-x95nu6TiS__wsAKvUsFn6x_YE2jnLbXwi9wXSk2XaTKTXA1hxB31Cm5yie3UJ71KR4qcr28-ERwagBR-awpjypYArQZKn2I4vIIDwhd0hehwzVlWfmj4OZb4Y3NG9Kp1pyXlERRFI6WETkWeV5PEoEV_omSbxBSbqoaTGkIFsnR/w564-h150/No5_1_6.png" width="564" /></a></div><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><b>Conclusion</b></p><p>This is a model for a classical Sonata of Beethoven's early period. </p><p>It is our first Sonata in this series, so we do not have anything to compare it with yet, although (from experience) we already see that there are techniques and motives, which Beethove will take over to next sonatas, and we are going to explore the Cm Sonatas first. Which are this one Opus 10.1, Opus 13 (Pathetique) and Opus 111 (Beethoven's last one)..</p><p><br /></p><p><br /></p><p> </p><p><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-76429912996046223932014-05-27T09:21:00.001-07:002014-05-27T09:24:53.058-07:00Sonatine<div style="text-align: center;">
<span style="font-size: x-large;">Opus 79</span><br />
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<span style="font-size: large;">This was probably most students of Beethoven's first Sonata and it is actually quite attractive. It would not have been published if his brother Karl hadn't brought it to the publisher...</span><br />
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<span style="font-size: large;">The Leipzig publisher would have welcomed an easier Beethoven Sonata playable by a large public. It is probably written before Opus 78, since Opus 78 had no. 2 written on the manuscript. But although Opus 78 is really one of Beethoven's own favourites, he probably was not entirely convinced of the merit of the other Sonata (now Opus 79).</span><br />
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<span style="font-size: large;">The first movement really has the sketchiness of a Sonatina although the development and coda parts are in fact quite mature. This way the second part has to be repeated also and this makes it almost extended binary form. It is manageable by an intermediate student provided the student doesn't attempt to put more into it as is actually there. Let the music work for itself. </span><br />
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<span style="font-size: large;">The second movement is actually in beautiful Italian style. A song without words. Here the student may put all expression in which he or she can bring forth. With this a performance piece is at hand, which will please many an audience.</span><br />
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<span style="font-size: large;">I always enjoyed the last movement. Very Haydenish in make up en yet unmistakeably Beethoven. It is not at easy at all, but an ideal vehicle to teach 4 against 3. This will cause some frustration when a first attempt is made.</span><br />
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<span style="font-size: large;">It is well worth the effort from the side of the teacher to insist that the 4 against 3 is mastered perfectly here, because once mastered it is so useful for later more difficult work.</span><br />
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<span style="font-size: large;">Let's hear the master's version of this Sonatina:</span><br />
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<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=9Qov_qrY7RI">Andreas on Opus 79.</a></span><br />
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<span style="font-size: large;">Or another master for that matter. In this case Daniel Barenboim has beaten Andreas Schiff to it:</span><br />
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<a href="http://www.youtube.com/watch?v=VgPIARFhMfA"><span style="font-size: large;">Daniel Barenboim plays Opus 79</span></a><br />
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2255926559654536720.post-51957348778993822322014-04-21T04:59:00.001-07:002014-04-21T05:01:33.289-07:00Patron Saint of Bobos<div style="text-align: center;">
<span style="font-size: x-large;">Lully's dilemma</span><br />
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<span style="font-size: large;">Jean Baptiste Lully is probably music history's ultimate Music Bobo. Admittedly contemporary Music Scene is full of them, but if they are looking for a role model, a branch Saint of Music Bobos, look no further. There you have him, Jean Baptiste Lully.</span><br />
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<span style="font-size: large;">"At the age of 18", he would proclaim during his life, "he had learnt ALL there was to learn about music" and boasted he did not put anything in practise, which he didn't already know by then. </span><br />
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<span style="font-size: large;">He became Louis XIV's court composer and director of the Royal Academy of Music and nothing could ever be performed in France, which did not carry his approval, his 'imprimatur'' so to speak. </span><br />
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<span style="font-size: large;">Sort of a 17th century forerunner of the theory of 'All'. And that's a shame, because looking back we all know what exciting things regarding music development would still be in store for us. </span><br />
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<span style="font-size: large;">The conductor baton in the hand was not invented yet, and Lully would knock his stick on the floor. Even when he accidentally hit is own foot, he remained in serious denial leaving the invention of the baton to someone else. And thus he died, even in Louis XIV's displeasure.</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-84380349793777864432014-03-17T01:22:00.000-07:002014-03-17T02:41:41.670-07:00The myth of Bach<div style="text-align: center;">
<span style="font-size: x-large;">Mattheus Passion</span></div>
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<span style="font-size: large;">Yesterday visited probably the first performance of the Mattheus Passion by J.S. Bach in the Netherlands in Rotterdam the Doelen. A very well balanced performance by Toonkunst Rotterdam under Maria van Nieukerken. I enjoyed every minute of it. And that is lots of minutes...</span><br />
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<span style="font-size: large;">My attention was directed towards sort of another gospel in the booklet. Namely the story of the forgotten Bach resurrected by Felix Mendelssohn. </span><br />
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<span style="font-size: large;">Would Joseph Haydn, who learned his craft from the very Bach's son Carl Philipp Emanuel Bach have forgotten J.S. ? In Mozart's Requiem you can find a nearly carbon copy of a fugue from Bach's Well Tempered Clavier book 2 in a-minor and Mozart often trumpeted his respect for the 'old' Bach. All right Sussmayer might have put his hands in the till in the dire need to complete the Requiem. But isn't it interesting that the till he grabbed from was 'old' Bach's? Beethoven also was very vocal about his respect for Bach, but was genius enough to develop his own concept to go fugal. And how older Beethoven became the more he went fugal.</span><br />
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<span style="font-size: large;">And the very young Chopin in his very first piano Sonata opus 4 in C-minor - written to impress his teacher - shows very clearly in far off Poland Chopin was raised with Bach's well tempered clavier. Alas it would prove to be Chopin's least performed work, because it is a bit of a slog, but that is not the point. The point is that also Chopin in his very teens knew Bach well. Very well!</span><br />
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<span style="font-size: large;">What then is the myth of Felix Mendelssohn's discovery? Perhaps the myth of the jewish composer who had to become a catholic to become accepted in that part of Germany? And perhaps that part of Germany discovered Bach in the middle of the 19th century? That may very well have been the case.</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-65120292948088513652014-02-19T07:06:00.000-08:002014-02-19T07:22:45.732-08:00Theresia Sonata<div style="text-align: center;">
<span style="font-size: x-large;">Opus 78</span></div>
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<span style="font-size: large;">This Sonata only has two movements but is very coherent and complete. Both the first movement in pure Sonata Form and the Rondo excel in beauty. Very often this sonata is confused with the Sonatinas, but if it were a Sonatina Beethoven probably would have combined it with the following Sonata. Moreover the Sonatinas were actually given for publication by Beethoven's brother Karl. But this Sonata is too pure in Form and execution to be deemed a Sonatina and the key signature of 6 sharps is to serious too. It deserves to feature on concert programmes more often, after all it was of Beethoven's own favourites and he thought more of it than of the Moonlight Sonata.</span></div>
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<span style="font-size: large;">Notice that there is a large difference in time between this sonata and the Appassionata, four years in all.</span></div>
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<span style="font-size: large;">The sonata starts with a beautiful small introduction 'adagio'. The sonata could have easily done without, but alas Beethoven made a statement to open this sonata with this beautiful 'adagio'. Some pianists play this introduction extremely slow. As if to say, this is way too short...</span></div>
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<span style="font-size: large;">After this opening the beautiful theme of this first movement appears.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIk1Eu0NcndQ800XhNtqi9emz1bH62Yx5DdDlF-hdTKL7CUf6r3nH0WJWqy3B1Gp-Zn6W32IEK6ZxfsDa3UauiMnoJgt8xewIlopuaMLcs_7chO3QFun1r30NdgDd83xa0iwowfUMTd7w/s1600/Opus78_1_2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIk1Eu0NcndQ800XhNtqi9emz1bH62Yx5DdDlF-hdTKL7CUf6r3nH0WJWqy3B1Gp-Zn6W32IEK6ZxfsDa3UauiMnoJgt8xewIlopuaMLcs_7chO3QFun1r30NdgDd83xa0iwowfUMTd7w/s1600/Opus78_1_2.png" height="73" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijZ2n4UWt6HpUVD3e3T9uB5D4enl-_eQ-2NLFYXTeEwvgZmU3VR-5lN9g5FYVQtKQ6S3k2mUSfOXrXvU62yv0keeeun8SO7J7oBGZLAk5gyR1agVdiE6tscQ-i0Fv2nxZX9wzNV5nMqcE/s1600/Opus78_1_3.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijZ2n4UWt6HpUVD3e3T9uB5D4enl-_eQ-2NLFYXTeEwvgZmU3VR-5lN9g5FYVQtKQ6S3k2mUSfOXrXvU62yv0keeeun8SO7J7oBGZLAk5gyR1agVdiE6tscQ-i0Fv2nxZX9wzNV5nMqcE/s1600/Opus78_1_3.png" height="96" width="320" /></a><span style="font-size: large;">It shows Beethoven has gone a long way since Opus 2, already at such high spirits. After the presentation of the theme he immediately progresses as if he were already in a development section. Due to the long period between Appassionata and this sonata I for this reason propose to let the late period of Beethoven (at least in his Piano Sonatas) start with this Sonata. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUKOU9B2GyYZY1vbS9uK6cQZgsEL5977cVigX844KwAHGNiLt4En7YNyJ6tofWWxYFmwUdbIT9lYhXOo4yubqAhRrW71uYbiE3xrsxKhfAMN3dPUlK_4SrAweylYYnSZm5OyhzP7w-Un0/s1600/Opus78_1_4.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUKOU9B2GyYZY1vbS9uK6cQZgsEL5977cVigX844KwAHGNiLt4En7YNyJ6tofWWxYFmwUdbIT9lYhXOo4yubqAhRrW71uYbiE3xrsxKhfAMN3dPUlK_4SrAweylYYnSZm5OyhzP7w-Un0/s1600/Opus78_1_4.png" height="143" width="320" /></a><span style="font-size: large;">The second theme is to the point as the first theme and also seamlessly progresses into creative figures to move to the coda or rather repeat of the exposition.</span></div>
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<span style="font-size: large;">The development section takes the theme to the minor of F-sharp. It is good advice to repeat both the exposition and the development + recapitulation.</span></div>
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<span style="font-size: large;">The final movement is a jolly gesture made by Beethoven and is an indication of his fling with the English, which already appeared in the theme of the Appassionata. We are definitely in a period where Beethoven was trying to impress the English Audience and he was not alone. Also Joseph Haydn took quite some time off from his post with Count Esterhazy to woe British audiences. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJRznT5d7lgT_vMEqW8-77csiMxtjlGDjQw4VMzU7VOynoiI3L_YuKv2rMkSEmPu0ZKYKGUrXKRGYU3xDjD7A8mhPYiqR8z8A7hdsstM1oSxtL1b8GYaAr9LiTJuBQqKQLkupWtzUA6W0/s1600/Opus78_2_1.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJRznT5d7lgT_vMEqW8-77csiMxtjlGDjQw4VMzU7VOynoiI3L_YuKv2rMkSEmPu0ZKYKGUrXKRGYU3xDjD7A8mhPYiqR8z8A7hdsstM1oSxtL1b8GYaAr9LiTJuBQqKQLkupWtzUA6W0/s1600/Opus78_2_1.png" height="153" width="320" /></a><span style="font-size: large;">The theme of the rondo is a reminiscence of Britannia ruling the waves. Alas Beethoven looks at it with humour!</span></div>
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<span style="font-size: large;">The cadenzas after the rondo theme are a little chase and get longer and longer as the movement progresses. Good contrasts between loud and soft, bouncy patterns and legatos. </span></div>
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<span style="font-size: large;">A Sonata not to be missed and the length of it suits our modern attention spans. The Sonata lasts 10 minutes or so. (of course the second movement can do with some speed!)</span></div>
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<span style="font-size: large;"><a href="http://youtu.be/NRFcAvD9vuU">Eric Heidsieck plays Opus 78</a></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-19918125942873881692013-12-04T05:12:00.001-08:002013-12-11T13:05:38.088-08:00Appassionata<div style="text-align: center;">
<span style="font-size: x-large;">Opus 57</span></div>
<span style="font-size: large;"><br /></span><span style="font-size: large;">God exists! And every now and then it becomes apparent in the flesh! It is not the first time Beethoven attempted to bring the piano sonata to the level of a concerto. He did so in his first sonata opus 2 no. 3! But in writing the Appassionata it had arrived. </span><br />
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<span style="font-size: large;">The theme in a concerto is called the '<i>ritornello</i>' which returns in the orchestra and the solo instrument. As such of course the first movement is composed through and analysts who regard it as composed through sonata form really haven't understood this Sonata. It is a concerto and the theme is that of a Scottish Folk tune '<i>On the banks of Allen Water'</i>. </span><br />
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<span style="font-size: large;">Have we mentioned before that Beethoven around this time was extending his publishing efforts to England? If you like the 'UK'? </span><br />
<span style="font-size: large;"><br /></span><span style="font-size: large;">Again the title was not provided by Beethoven himself but was attributed to the Sonata post humus in 1838 but Beethoven may have subtitled it '<i>La Passionata</i>' but is was not marked as such in the manuscript.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5dMjMarEf0WQwoWDRHeYWdAxWnKBeEoVJ-Q8Oatx1_d4NXKaMZgFSzo-fsTcsvpLE9kbtkDtL9-sRhHf-UeiL76OZdZVtl-LpXGE0gTdgfQGDu9-Ox6gT4RZfA0DuyHPl7g80wtN8JB0/s1600/Opus_57_1.PNG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5dMjMarEf0WQwoWDRHeYWdAxWnKBeEoVJ-Q8Oatx1_d4NXKaMZgFSzo-fsTcsvpLE9kbtkDtL9-sRhHf-UeiL76OZdZVtl-LpXGE0gTdgfQGDu9-Ox6gT4RZfA0DuyHPl7g80wtN8JB0/s1600/Opus_57_1.PNG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5dMjMarEf0WQwoWDRHeYWdAxWnKBeEoVJ-Q8Oatx1_d4NXKaMZgFSzo-fsTcsvpLE9kbtkDtL9-sRhHf-UeiL76OZdZVtl-LpXGE0gTdgfQGDu9-Ox6gT4RZfA0DuyHPl7g80wtN8JB0/s320/Opus_57_1.PNG" width="320" /></a><span style="font-size: large;"></span><br />
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<span style="font-size: large;">I am not sure whose stains are on the manuscript, perhaps they may be Beethoven's. Beethoven had trouble keeping a maid longer than a couple of weeks, after which she would quit in despair.</span><br />
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<span style="font-size: large;">The theme is played first in unison an octave apart and it is fun to try them 2 octaves apart after which it becomes apparent immediately why the Russians favoured to play unison themes like that instead of 1 octave apart. Alas, just as an experiment of course.</span><br />
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<span style="font-size: large;">What most analysts see as the 2nd theme is really the second part of the folk song and not at all contrasting with the 1st theme. The theme is constantly given in a solo and tutti form. Then of course we see on the left a large part of what really is the Cadenza! </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3QiqvR1VLDClIyemFFixhNiHlJapazAMS3MAChAtkMDdfIDkTpp6hQTbTEwBs8O5mT1iQVvuiGN4dmij6KCeylLBXLRLBwWudk9VN26hnqRDF07hXfhEv7te5PNx5KTDNvA7ZhrvMq1o/s1600/Opus_57_3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3QiqvR1VLDClIyemFFixhNiHlJapazAMS3MAChAtkMDdfIDkTpp6hQTbTEwBs8O5mT1iQVvuiGN4dmij6KCeylLBXLRLBwWudk9VN26hnqRDF07hXfhEv7te5PNx5KTDNvA7ZhrvMq1o/s400/Opus_57_3.png" width="400" /></a></div>
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<span style="font-size: large;">And I have no problem at all seeing after the cadenza the orchestra taking up the Adagio and the Coda afterwards.</span><br />
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<span style="font-size: large;">The second movement is a set of four variations of an exceedingly simple but beautiful theme. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6PSpzz7MuIRCPY1w7TxPRhyphenhyphenjOuFrYB5SSayL_z62MxDyJ-rpdAcv1UzhGNka_PSfAJWILci72k1wiYNmMGsF-tBxJii_Orb05aE6GjD5YpFu1LhDZV-hZ0v4kO8FN7MI_POionC9UsOY/s1600/Opus_57_4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6PSpzz7MuIRCPY1w7TxPRhyphenhyphenjOuFrYB5SSayL_z62MxDyJ-rpdAcv1UzhGNka_PSfAJWILci72k1wiYNmMGsF-tBxJii_Orb05aE6GjD5YpFu1LhDZV-hZ0v4kO8FN7MI_POionC9UsOY/s400/Opus_57_4.png" width="400" /></a></div>
<span style="font-size: large;">And then the third movement. We know of Beethoven's habit to turn Rondos into Sonata form, but here he is concealing it and directs only to repeat the second part. </span><br />
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<span style="font-size: large;">Who would not hear the orchestra opening, after which the piano will come in bar 5. And the final coda - very much fun for the pianist - would sound great with orchestra too!</span><br />
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<span style="font-size: large;">Enjoy Claudio Arrau in the following recording of this - ahum - <i>concerto sans orchestre.</i></span><br />
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<span style="font-size: large;"><a href="http://youtu.be/Tdg-DT8rTUQ">Claudio Arrau playing Appassionata (full)</a></span>
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<span style="font-size: large;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-57477613571355456542013-11-30T06:21:00.000-08:002013-11-30T09:40:30.106-08:00Featuring in 'What is this?'<div style="text-align: center;">
<span style="font-size: x-large;">Opus 54</span></div>
<span style="font-size: large;"><br /></span><span style="font-size: large;">Every composer and especially the composer who elevated the Piano Sonata to the extend as Beethoven did has his minors and what can you do between a Waldstein and an Appassionata? </span><br />
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<span style="font-size: large;">Beethoven, who would have featured in a 'Who is Who' of his day, apparently was doing his best to feature for once in a 'What is this?' of his day.</span><br />
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<span style="font-size: large;">If there is one Sonata, which has marks of being unfinished it is this Sonata in F. Not at all like Sonata opus 90 which also only has two movements, but feels very complete.</span><br />
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<span style="font-size: large;">Perhaps the whole situation is explained by the fact that Beethoven had problems with his publishers at the time, because he had felt he could decide to get into business with an English publisher, without consulting his own publisher? So this Sonata should not have been published at all? Or was Beethoven so desperate for money that he had thought: 'Well, what do the English know about music?' anticipating Leonard Bernstein on the matter, 'The English don't appreciate music, but they do like the noise'. </span><br />
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<span style="font-size: large;">Perhaps Beethoven was taking a joke after several years of teaching Carl Czerny? </span><br />
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<span style="font-size: large;">Because in the need for explaining this Sonata in the end all one can do is claiming that it is a statement of Beethoven's humour! But nowhere like Opus 14 no. 2's second movement, which leaves me rolling over the floor with laughter. This sonata leaves me only wide eyed. </span><br />
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<span style="font-size: large;">Good all right! Beethoven was fed up with Sonata form and the traditional Sonata model. Nothing wrong with that. Because everything Beethoven does must have the explanation suited for a genius.</span><br />
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<span style="font-size: large;">But I keep at it that Beethoven just had a bad hair day! </span><br />
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<span style="font-size: large;">Or he was indeed giving a statement on mediocre composers. If you like Carl Czerny. Because it is known indeed that Beethoven did do that also in public to air his opinion about a Piano Novelty of some new performer or composer. </span><br />
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<span style="font-size: large;">But it should have stayed at that. An improvisation after a concert to have some pun intended by the composer at the top of 'Who's who'. It should never have reached the printing press. </span><br />
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<span style="font-size: large;">It's not for the Minuet theme of the first movement which is delightful. If it would have been a Minuet!</span><br />
<span style="font-size: large;">Alas I admit. The variations on the Minuet theme are delightful too. In the recording given below, do notice the syncopations in the variations of the theme. They are amazingly 20th century. </span><br />
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<span style="font-size: large;">If someone seriously disagrees with me and finds this Sonata in a Recital programme that does not feature all of Beethoven's Sonatas, but only one Beethoven Sonata, I would be so grateful to know about it.</span><br />
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<span style="font-size: large;">Even Andreas Schiff!</span><br />
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<span style="font-size: large;">But let's us give this Sonata a hearing from the best contemporary performer and one at that who will not share my opinion. 'There are no weak links' in Beethoven's Sonatas he believes in the lecture recitals. Do notice his referral to Joseph Haydn to understand this Sonata.</span><br />
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<span style="font-size: large;"><a href="http://youtu.be/FihyD1KbXCc">Lecture on Opus 54 by Andreas Schiff</a></span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-16549500381198511372013-11-08T13:19:00.001-08:002013-11-08T13:38:23.369-08:00Waldstein (2)<div style="text-align: center;">
<span style="font-size: x-large;">Opus 53</span></div>
<span style="font-size: large;"><br /></span><span style="font-size: large;">In 1991 the young Beethoven wrote a Ballet for Count Waldstein, which he allowed the count to pass off as his own. It was only discovered in the 20th century that the young Beethoven was the author. But let us go back to the 2nd movement of the Waldstein Sonata. </span><br />
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<span style="font-size: large;">The second movement which is in Opus 53 now was not in the Sonata when it was first published. It must have been important for Beethoven to have changed it afterwards and the world should be grateful for it, because I think it is the most beautiful and bold slow movement of all his Sonatas. It is actually not a movement in contrast to the first version. It is only an introduction to the last movement.</span><br />
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<span style="font-size: large;">With slow, first of all is meant slow. Really slow! There is no note too many and the shortness of it as a prelude to the final movement is the most courageous thing Beethoven has ever done. Well, apart from Hammerclavier.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdGuYqUHI0O_xG3tYRjcu-U9NwOJ5SzxHWzE1nhOOEnOt0sJltT-gbcllbTvPtGX1pigjVUmK5Neb152WAf0mPX-AD1THxlUMGLci_vV9o2Pn50k21WyFQLrgIXv0YCJLupmnPcjODkS4/s1600/opus21_2_1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdGuYqUHI0O_xG3tYRjcu-U9NwOJ5SzxHWzE1nhOOEnOt0sJltT-gbcllbTvPtGX1pigjVUmK5Neb152WAf0mPX-AD1THxlUMGLci_vV9o2Pn50k21WyFQLrgIXv0YCJLupmnPcjODkS4/s400/opus21_2_1.png" width="400" /></a></div>
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<span style="font-size: large;">Watch that Base line! Chromatically down from F to C. But of course the most important thing in the Waldstein Sonata is the Leitmotiv..</span><br />
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<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The density of the motif is enormous in the next couple of bars!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivOeEiNxoZbDoP3gSPvs6CfwvmbR25dTh3-nQ1jn36wmSE5TQK5iFyZGXP5msdhzwjJKGdZBx1btiK82pmMhE8GCmbZOfc6LuQBSFEBDKTDHug-OyVMdpq16gqD1WWJ4rNifjW5FlMBGQ/s1600/opus21_2_4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="93" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivOeEiNxoZbDoP3gSPvs6CfwvmbR25dTh3-nQ1jn36wmSE5TQK5iFyZGXP5msdhzwjJKGdZBx1btiK82pmMhE8GCmbZOfc6LuQBSFEBDKTDHug-OyVMdpq16gqD1WWJ4rNifjW5FlMBGQ/s400/opus21_2_4.png" width="400" /></a></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Everything that is exceedingly beautiful is also exceedingly simple. From the start in F and from there in an amazing way to the Dominant of the key of the last movement C major. Which means that the 'Schenker'</span><span style="font-size: large;"> meaning of the 2nd movement is soley Subdominant - Dominant. </span><br />
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<span style="font-size: large;">A Rondo! Beethoven has made up for all the rondos which weren't rondos. Beethoven wrote the mother of all rondos here in the Waldstein. </span><br />
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<span style="font-size: large;">The slow buildup stands miles above the ninth symphony, but yet only few know this theme. Even the Waldstein Sonata is always associated with the first movement. But for me the Waldstein Sonata is the last movement. It is long and Beethoven has taken all time he had to build this Rondo up towards the end. I like to increase the dynamics with every new cycle and until the last two pages I think Beethoven has reached perfection! </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">And then I am with shock brought to the earth again. Because the last two pages aren't perfect at all! What on earth was Beethoven's intention with these last two pages? Had the Leitmotiv lost its spell? Or had the Sonata to be rushed to the publisher? Who perhaps only saw the last two pages and returned it? </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">We will never know. Perhaps my technical abilities just couldn't cope with it?!</span><br />
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<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Listen for yourselves. </span><br />
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<span style="font-size: large;"><a href="http://youtu.be/7jQo4es1d88">Daniel Barenboim Waldstein Movement 3</a></span></div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-64886633402257910862013-05-20T12:29:00.000-07:002013-05-20T12:58:23.851-07:00Waldstein<br />
<div style="text-align: center;">
<span style="font-size: x-large;">Opus 53</span></div>
<span style="font-size: large;"><br /></span><span style="font-size: large;">Count Waldstein. It was he who recommended young Beethoven to Joseph Haydn in 1792 and saw him sort of as replacement for Mozart's spirit. In fact Count Waldstein was the binding glue between Mozart and Beethoven. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">By now though Beethoven has brought Sonata form to its Zenith. This sonata is for me one of the most perfect Sonatas to have been written ever. And that is gives an enormous peace of mind, because perfection does not exist and in the end of the first as well as the last movement it shows Beethoven in a rush to finish it. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">But that may not have been the reason his Leipzig publisher returned this Sonata. At first glance its brilliance may not have been noticeable at all, as also the key of C major may have concealed its mastery. His publisher was at the time in disagreement with Beethoven, because he was not willing to give his publisher an all out exclusive. But whatever, did his publisher at the time recognise the value of this Sonata. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Beethoven brings in this Sonata pure simplicity to a never before brought height. The extreme slowness of the middle movement was daring beyond anything he had written and then the last movement is chilling for its beauty. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">But apparently the Sonata is written because his Opera efforts came to a halt due to his disaffection with Schikaneder another such link to Mozart in this case. </span><br />
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<span style="font-size: large;"> </span><br />
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHWZF2I3Ki4kWPdsCrPePit1SKLc3Qwcoxh7L5E5lBgQxURb68cdxlAnfAJXPF3BlTiwarWuSrnPKDpks7xzpGu42ok1bmUH4HMipyTsKsB30o6_u0oO2G-i5MRys-xUW8hsaYOzValWs/s1600/opus53_1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHWZF2I3Ki4kWPdsCrPePit1SKLc3Qwcoxh7L5E5lBgQxURb68cdxlAnfAJXPF3BlTiwarWuSrnPKDpks7xzpGu42ok1bmUH4HMipyTsKsB30o6_u0oO2G-i5MRys-xUW8hsaYOzValWs/s1600/opus53_1.png" /></a></span></div>
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<span style="font-size: large;">With this work the piano Sonata has achieved the level of a Symphony for sure and that is exactly the reason why I like to see Beethoven's late period here, why only leave to a very short period at the end of his life? </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Also in this Sonata the connections between all movements through shared leit-motives or unbroken connection between the second movement and the last shows that Beethoven had arrived there where Romantic music will progress into at the end of the 19th century. </span><br />
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<span style="font-size: large;">Notice the sequence of keys. Already after the first phrase Beethoven repeats the whole phrase one whole tone lower. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaeVjtiPwsWVBL6kuzGbiCAsDq7U1G3yezlhPHxBNNPpV4Bp4DCzLAKVmSLCl-Ll5ot9lQ9jvWByNEMrqgNafJfiEU6b0slC7WQxKBJ7LufPfXk7zSa00MB_99FU6ZD9fVFkVxk7Ml1QQ/s1600/opus53_3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaeVjtiPwsWVBL6kuzGbiCAsDq7U1G3yezlhPHxBNNPpV4Bp4DCzLAKVmSLCl-Ll5ot9lQ9jvWByNEMrqgNafJfiEU6b0slC7WQxKBJ7LufPfXk7zSa00MB_99FU6ZD9fVFkVxk7Ml1QQ/s1600/opus53_3.png" /></a></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">And notice then the movement to the dominant G through the broken Chord of C-minor, the section being in C-major!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEXGvByOMRbnIwkUXe0tSY-rc9gdyj9tygXKJnzHKrsE7rzvORgJ-XaXl-lYqQfZuRa0gtu6rfTvYrhJAv6aLqZH9YTS-YG3y9mOr4FB3m1diCv7NAMTNG6zi98U320bmSis43U4LKcn4/s1600/opus53_4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEXGvByOMRbnIwkUXe0tSY-rc9gdyj9tygXKJnzHKrsE7rzvORgJ-XaXl-lYqQfZuRa0gtu6rfTvYrhJAv6aLqZH9YTS-YG3y9mOr4FB3m1diCv7NAMTNG6zi98U320bmSis43U4LKcn4/s1600/opus53_4.png" /></a></div>
<span style="font-size: large;">The process is repeated with tremolos, but this it doesn't go down to Bb but up to D.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9JUFtvyqWflF2xc-mUe_ONeb6e9WjlQgk0_fTcmxq9ibjFTteyt2FHTYITiz9zCgdfjpxw4IR1qgGN8pOT4mh061PbErJNKT_NmxyxnCoegwpplHIhc3hJTTaQ1O46NfY9aNLCWB11QU/s1600/opus53_5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9JUFtvyqWflF2xc-mUe_ONeb6e9WjlQgk0_fTcmxq9ibjFTteyt2FHTYITiz9zCgdfjpxw4IR1qgGN8pOT4mh061PbErJNKT_NmxyxnCoegwpplHIhc3hJTTaQ1O46NfY9aNLCWB11QU/s1600/opus53_5.png" /></a></div>
<span style="font-size: large;">From there on the progression is dazzling to arrive for the second theme in E-major. </span><br />
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<span style="font-size: large;">Can it be more simple? The theme repeatedly exchanges between the right hand and the left hand the other hand a single syncopated B.</span><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-34636542166408309452013-05-19T06:31:00.000-07:002013-05-19T07:41:28.215-07:00Discovery<br />
<span style="font-size: large;">Whilst working on the next installment of Waldstein I discovered two interesting things:</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Beethoven has stayed in the Netherlands in Nov. 1783 being 11 yrs old. He played before Stadhouder William V and received fl. 63 for it. Probably he performed also one of his early sonatas out of which six years later would grow Opus 2.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Beethoven complained about the Dutch being tight on the money and always occupied with it to such an extent that he 'would never ever come back'.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">A promise he kept.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Secondly I discovered that my great..grand parents Jean of Polanen and Catherina van Breederode are also the great parents of:</span><br />
<span style="font-size: large;"><br /></span>
<ul>
<li><span style="font-size: large;">Lady Diana Spencer</span></li>
<li><span style="font-size: large;">Queen Elizebeth of Windsor</span></li>
<li><span style="font-size: large;">Queen Beatrix</span></li>
<li><span style="font-size: large;">Kaiser. Wilhelm II</span></li>
<li><span style="font-size: large;">Our own William of Orange (the Silent)</span></li>
<li><span style="font-size: large;">and even Maxima Zorreguita</span></li>
</ul>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Which means I can - next time I meet - call William and our Willem Alexander 'Hello Cuz...'.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">To all snobs out there. I can honestly say 'I can do better than that!'</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Now onwards with Opus 53...</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-30555448730819991392013-04-30T13:19:00.000-07:002013-05-05T11:55:04.396-07:00A time of reflection<br />
<div style="text-align: center;">
<span style="font-size: x-large;">The Beginning of Beethoven's</span><br />
<span style="font-size: x-large;">late period</span></div>
<span style="font-size: large;"><br />I am probably alone in letting Beethoven's period start with opus 53 and not after <i>Les Adieux </i>(Opus 81a). There two reasons for it.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Firstly I think with Opus 53 Beethoven has truly found his way and is climaxing towards his final sonatas in a consistent and steady way.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Secondly it is the large gap between his piano sonatas opus 31 and Opus 53. That is a lot of other work published in between and unusual considering the regularity Beethoven dedicated his time to piano sonatas in his earlier work. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Of course, in fact there are two sonatas Opus 49. But these two sonatas written in his very early period were never published by Beethoven himself, but any keen student starting with Beethoven has to thank Beethoven's brother for these two sonatas, because it is him who brought these two sonatas to a publisher. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Just to underline and try to justify my personal stance on Beethoven's late period here I will look a little bit in Beethoven's personal life at this stage...</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Because this period was a breaking point indeed.</span><br />
<span style="font-size: large;"><br /></span>
<br />
<ul>
<li><span style="font-size: large;">Beethoven in this period accepted the irreversibility of his deafness.</span></li>
<li><span style="font-size: large;">He took his international future in his own hands</span></li>
<li><span style="font-size: large;">Undertook with confidence his composition into new areas like Opera and the String Quartet.</span></li>
</ul>
<div>
<span style="font-size: large;">Beethoven's illness had driven him to frontiers of death to such an extend that he wrote his last will in Heiligenstadt and kept it in his drawer for the rest of his life. But even though the consequences will even be worse in the near future, gradually he won't be able to have a normal conversation, he has to stop as a performer in 1814, from 1818 people have to write down what they want to say to him, but from this point onwards he is no longer the victim of his deafness.</span></div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: large;">He even considers to move to Paris in this period, which shows that he is aware of his international reputation and importance. Only his venture in writing an Opera is holding him back and the fact that this area of his work didn't really lead to success eventually is probably the reason he stayed in Vienna. </span></div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: large;">The large gap between Opus 31 and Opus 53 is not really a time gap. It is a gap due to his publishing efforts, which became more and more international. Beethoven had tried to keep his publishing efforts in England and France in his own hands and his publisher in Leipzig did not find that agreeable. To the extend that <i>Breitkopf & Haertzel</i> had returned Beethoven's overture to his Opera, his symphony '<i>Eroica</i>' and his Piano sonata Opus 53, the famous Waldstein. </span></div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: large;">And there we are back on track with our series on Beethoven's piano sonatas. For me the beginning of his most beautiful period. The mature rather than the late Beethoven...</span></div>
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<span style="font-size: large;"><br /></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-10443873315488244282013-03-31T10:49:00.002-07:002013-03-31T11:12:32.981-07:00Opus 31 (2)<br />
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<span style="font-size: x-large;">Opus 31 no. 3</span></div>
<span style="font-size: large;"><br /></span><span style="font-size: large;">This is the end of Beethoven's middle period and it's in his favourite key signature 3 flats! The sonata - although very traditional in form - really is of Beethoven's middle period beauty. It even is that traditional to form that there are four movements. </span><br />
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<span style="font-size: large;">No hidden genius ideas then? Oh sure, they are there! For instance the whole first theme works as a grand introduction opening towards the second theme, which is a very Haydnish jolly tune, sort of...</span><br />
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<span style="font-size: large;">The second movement is also true to form. The <i>scherzo</i> is in fact a tempo indication and not a character indication. After all we have a minuet as third movement. Although entirely true to form? It tries to be an aria in variation form, but really Beethoven suggests sonata form and rondo. It would work very well as a final movement. </span><br />
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<span style="font-size: large;">The Menuetto suggests a very simple Haydnish dance in 8 bars binary form, but after all the Trio is not in minor, but just part of the Menuetto. In fact you might be tempted to interpret this minuet as just a German Dance thrown in for good measure. Let Andreas Schiff play it and it's beauty is immediately apparent.</span><br />
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<span style="font-size: large;">The last movement is also true to form, albeit true to Beethoven's form, because it is one of his <i>rondos</i> in sonata form. And yummy! A <i><b>presto</b></i> as well!</span><br />
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<span style="font-size: large;">Exactly the speed of this movement has earned it the nickname 'the Hunt'. But beware! As always with Beethoven's fast movements it never is an invitation to rush. Especially here below the speedy long lines slumbers the same spiritual depth as in the first three movements. </span><br />
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<span style="font-size: large;">Hence although this sonata at first glance seems very down to earth and playful, it really has the spiritual character of Beethoven's middle period and is a worthy closure of it.</span></div>
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<span style="font-size: large;"><a href="https://www.youtube.com/watch?v=6SpBkrkcqpo">Vladimir Ashkanazy mvt 4</a></span><br />
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<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=5nBdcKz_FEA">Daniel Barenboim plays mvts 3 and 4</a></span><br />
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<span style="font-size: large;"><a href="https://www.youtube.com/watch?v=pl0OBuxR_BE">Andreas Schiff mvts 3 and 4</a> </span><br />
<span style="font-size: large;">(lightyears ahead of the other two!)</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-18987503153828833182013-01-27T03:24:00.000-08:002013-01-27T03:49:18.010-08:00Opus 31 (1)<br />
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<span style="font-size: x-large;">Opus 31</span></div>
<span style="font-size: large;"><br /></span><span style="font-size: large;">We have seen it before with a set of 2 Sonatas. One very famous the other nearly forgotten. </span><br />
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<span style="font-size: large;">Here we have three Sonatas. The first nearly forgotten, the second the very famous 'Tempest' Sonata and the third also well known although not adorned by the public at large with a special name.</span><br />
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<span style="font-size: large;">There is only one explanation. They were published together the first one more than a year after finishing it. That's it. The styles of the three sonatas is very different.</span><br />
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<span style="font-size: large;">In the first Sonata Beethoven goes back to his early inspiration from Joseph Haydn. It is easy to recognise by now. The 2/4 time signature, the semiquaver patterns and the play with rhythm. Life is wonderful and to be enjoyed. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgerWoQ4wUAfxv1IXYTNKeSGSY-_drkGC5x-jVKg3h1owPiGo1YIPMcV-e_52GsQ5Sc7J0jNEjmkFLROZ-AkZ2tN4p1322zeMczmCpcEoX1enr5qdOorsD0NH459U_Iw8gmKqjeUKkXC-8/s1600/Opus31_1_1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgerWoQ4wUAfxv1IXYTNKeSGSY-_drkGC5x-jVKg3h1owPiGo1YIPMcV-e_52GsQ5Sc7J0jNEjmkFLROZ-AkZ2tN4p1322zeMczmCpcEoX1enr5qdOorsD0NH459U_Iw8gmKqjeUKkXC-8/s1600/Opus31_1_1.png" /></a></div>
<span style="font-size: large;">The sonata will continue in the typical Haydn style. The second movement, rather Italian, is extremely hard to play with good effect on a piano, but on a spinet or cembalo it will have a good result. I rather suspect that this is one of the reasons why you don't hear this Sonata often. The movement is extremely hard, but who said Joseph Haydn wasn't a virtuoso.</span><br />
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<span style="font-size: large;">The last movement - a real rondo for that matter - is more familiar to Beethoven ears. An interesting start. Suggesting D major at the start only to reveal G major in Bar 8. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfHahB-dYNTpZ-DerRaExzqU0zQPJH6WZTZ68VuyC7tPvZbiQW6UX4bNrrXQ0CFfM75XlriQD_cP5T1SCTgyMkCWrxA86ZCtGuMCxGkDvkECImj4mSq8x9aoVY-OdaWzJeEz51qvld3PQ/s1600/Opus31_1_3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfHahB-dYNTpZ-DerRaExzqU0zQPJH6WZTZ68VuyC7tPvZbiQW6UX4bNrrXQ0CFfM75XlriQD_cP5T1SCTgyMkCWrxA86ZCtGuMCxGkDvkECImj4mSq8x9aoVY-OdaWzJeEz51qvld3PQ/s1600/Opus31_1_3.png" /></a></div>
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<span style="font-size: large;">Then No. 2 the Tempest!</span><br />
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<span style="font-size: large;">I am not sure whether of his middle period this is his best Sonata. There is too much competition in this period, but it is one of Beethoven's most beautiful Sonatas. </span><br />
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<span style="font-size: large;">An architect has been at work here. Like many Sonatas of his middle period this first movement is pure Sonata form, yet transcends it in so many ways. This first theme is so much more than a first theme. It's a broad idea with contrasting elements in it. The key of the second theme is really A minor, but so well concealed that once he uses an A major chord (bar 61) it is already the return to D-minor and the coda connects to the start. </span><br />
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<span style="font-size: large;">The Development section works on one idea solely.</span><br />
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<span style="font-size: large;">And then immediately after the Reprise a surprise indeed. Beethoven suddenly interrupts the flow of ideas and does something entirely new. A bold warning of change. </span><br />
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<span style="font-size: large;"> The second movement is only a continuation of the promise of the first movement. Unlimited amount of ideas and the same subliminal threats under immense beauty. </span><br />
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<span style="font-size: large;">And then this:</span><br />
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<span style="font-size: large;">The final movement is 'the' famous rondo. A rondo though in Sonata form - as Beethoven often does - and not in Rondo form. But it is cleverly concealed in a continuous flow of semiquavers. </span><br />
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<span style="font-size: large;">Fuer Elise for Adults. Words can't describe it. I give a link to listen to this...</span><br />
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<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=LfjD-DQ5REk">Wilhelm Kempf 3rd movement...</a></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">But contrast this with this one of Andreas Schiff. Always my favourite:</span><br />
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<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=qrTX0J6G4-Q">Andreas Schiff 3rd movement</a></span><br />
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<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=kFBrjLzrIGI">Barenboim in the first movement</a></span><br />
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<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=4gKkMVuiI6g">Barenboim 2nd movement</a></span><br />
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<a href="http://www.youtube.com/watch?v=fBLEWsjyISA"><span style="font-size: large;">Andreas Schiff 2nd movement</span></a><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-72774924513737218972012-12-22T05:38:00.001-08:002012-12-22T05:52:39.114-08:00Opus 26 Pastorale<br />
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<span style="font-size: x-large;">Pastorale</span></div>
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<span style="font-size: large;">I saved this one for Christmas, because it is so rewarding to perform or play this Sonata in December. Especially the last rondo movement makes all bells ringing and this Sonata is slowly building up to it. Again the title has been given by his audience.</span><br />
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<span style="font-size: large;">It has an Opus number of its own and already that is an indication for the importance of this Sonata. It is one of Beethoven's best. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAGV6lRhj7_NKzHuNk_LoxQ1RnFAIb_jF-uWYz-aLbk7nbqc3NL1Te50aEPsdXxMrYo_SU-KYY7NzcJgC0lMRJQ-3wQgw3rq0234ih-Y8f8FYyJss58prxk_uO6a0KfpmSioKrMjgKWXo/s1600/Opus+28_1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAGV6lRhj7_NKzHuNk_LoxQ1RnFAIb_jF-uWYz-aLbk7nbqc3NL1Te50aEPsdXxMrYo_SU-KYY7NzcJgC0lMRJQ-3wQgw3rq0234ih-Y8f8FYyJss58prxk_uO6a0KfpmSioKrMjgKWXo/s1600/Opus+28_1.png" /></a></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">It is extremely clever to start with a D7 chord, whilst the movement is in the key of D major. The steady bass notes hold out for the tonal key. </span><br />
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<span style="font-size: large;">The movement - although definitely Sonata-form - is transcending the classical harmonic framework and Beethoven is playing a trick with the tonal centre all the time, something which composers like Schumann and Liszt will do. He does this to end the exposition where he started: in D major with the first theme and not with a Coda in the key of the second theme.</span><br />
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<span style="font-size: large;">This second theme is hiding its real tonal centre also.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh0T2k5H29ngJFSUQrvGieJ45pqAnwG3cNAbP7H9ej-XvmXOS78yjnqY2X9kOhGTZ_KmnVxr71LtH-cq9E3JU7DA02D-RFw53QeJTuRMiwkXcO4HaBPdlByXT1KUWUODG1Ao2xPpnvYpQ/s1600/Opus+28_2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh0T2k5H29ngJFSUQrvGieJ45pqAnwG3cNAbP7H9ej-XvmXOS78yjnqY2X9kOhGTZ_KmnVxr71LtH-cq9E3JU7DA02D-RFw53QeJTuRMiwkXcO4HaBPdlByXT1KUWUODG1Ao2xPpnvYpQ/s1600/Opus+28_2.png" /></a></div>
<span style="font-size: large;">Can't be further away from D major, but only as a reference to the key of F# minor through which Beethoven arrives at A major as a bridge to lead back to the beginning. </span><br />
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<span style="font-size: large;">Finally Classical Sonata form has found its perfection. A continuous flow of ideas leading full circle to the beginning. This Sonata is<i> perfect.</i></span><br />
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<span style="font-size: large;">The following Andante movement is my absolute favourite:</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKo1WI6jZ3M5Z6BNJ1p9D0d1mdHk-g5Adqbaj05tUy8Ofnqt-y6XiWhtbM0Z3a4xYXbttunEveMUHmg_cIpnuz34O3J8j_y-1fZJqSWHZz0B-nPeR1ZBpBuLf69Plj4IIMBvu1mK6r698/s1600/Opus+28_3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKo1WI6jZ3M5Z6BNJ1p9D0d1mdHk-g5Adqbaj05tUy8Ofnqt-y6XiWhtbM0Z3a4xYXbttunEveMUHmg_cIpnuz34O3J8j_y-1fZJqSWHZz0B-nPeR1ZBpBuLf69Plj4IIMBvu1mK6r698/s1600/Opus+28_3.png" /></a></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The legato right hand against the staccato left hand pattern is stunning. The expert peddler can excel here, because the first right hand chords must be legato and yet the left hand staccato can't be compromised with. After the fourth semiquaver a very quick pedal before releasing the right hand is very exciting, but not easy. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuzc1M__RYXRuokcPTbhhlCV1_2lKwoUiO7Gb6WX6DB4wAY7xrmyYo5_K_RhyphenhyphennZZ7LVgkT49PUh38o7NvKvw3LNNeDRQOUnh6dCNkKBTggexG5DbpzLRYFLa1psKzeGAZzSHzvXyo6NCI/s1600/Opus+28_4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuzc1M__RYXRuokcPTbhhlCV1_2lKwoUiO7Gb6WX6DB4wAY7xrmyYo5_K_RhyphenhyphennZZ7LVgkT49PUh38o7NvKvw3LNNeDRQOUnh6dCNkKBTggexG5DbpzLRYFLa1psKzeGAZzSHzvXyo6NCI/s1600/Opus+28_4.png" /></a></div>
<span style="font-size: large;"><br /></span><span style="font-size: large;">The culmination in the demisemiquavers and the key of D-minor takes care off one of Beethoven's most beautiful slow movements.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">In the third Scherzo movement Beethoven plays the same trick with the tonal centre. The key is D major again, but the starting F#'s over 4 bars conceals it.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAb1Wd2OLP5nWnEwRbMCRSk-bxZE3PS_vXuXD3Fc6O2-nR1l3xGg2mSSF4hxTAn7GaEhmeLchpIJ0iUGoviegvSpm21vGoGqRW2K1Vd_eMT-tnTxQNBEha5nyJ4aGbh0axIP4_KkaU4CA/s1600/Opus+28_5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAb1Wd2OLP5nWnEwRbMCRSk-bxZE3PS_vXuXD3Fc6O2-nR1l3xGg2mSSF4hxTAn7GaEhmeLchpIJ0iUGoviegvSpm21vGoGqRW2K1Vd_eMT-tnTxQNBEha5nyJ4aGbh0axIP4_KkaU4CA/s1600/Opus+28_5.png" /></a></div>
<span style="font-size: large;">The Trio - being in B minor - likewise starts on the Dominant and that's again F#! This is pure genius!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Fpg0jGNuAORNIAcAu3ekx0uSMIIELIlhyGQ1nJi-CIWpI33GE-6eDQI3LUl-EMxKORBLF8_AeeUQU8tmdEzzRQbovp8g1HrXhvrjP67m4LYJ83eTvwBnHNa7PhZp99A5jbi5nyG92dk/s1600/Opus+28_8.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="98" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Fpg0jGNuAORNIAcAu3ekx0uSMIIELIlhyGQ1nJi-CIWpI33GE-6eDQI3LUl-EMxKORBLF8_AeeUQU8tmdEzzRQbovp8g1HrXhvrjP67m4LYJ83eTvwBnHNa7PhZp99A5jbi5nyG92dk/s320/Opus+28_8.png" width="320" /></a></div>
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<span style="font-size: large;">And then we have the final Rondo!</span><br />
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<span style="font-size: large;">This Rondo is an indication the late Beethoven is breaking through. This whole Sonata is the top of his middle period anyway. As traditional as this Sonata is in form as revolutionary it is in harmonic structure and texture. The late Beethoven must have found his calling writing this very Sonata.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNVxWyD9KHUMrWIu2-H0NECFQIvz6lWC8gqSIyN_50u67AoyI1kTij4186Z1NlgvP_LT-TNywGeZ7is6cI5TkPaA9vIZYcjqlzjxpPLqYlcvuWhZhyphenhyphen1OtTR3MgmGUdRegXX1v1NHAew5Y/s1600/Opus+28_6.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNVxWyD9KHUMrWIu2-H0NECFQIvz6lWC8gqSIyN_50u67AoyI1kTij4186Z1NlgvP_LT-TNywGeZ7is6cI5TkPaA9vIZYcjqlzjxpPLqYlcvuWhZhyphenhyphen1OtTR3MgmGUdRegXX1v1NHAew5Y/s1600/Opus+28_6.png" /></a></div>
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<span style="font-size: large;">Do you notice the D's in the left hand as reminder of the D's in the first movement? The 'ma non troppo' indication you have to take very seriously. Too fast a speed would spoil much of this movement. Beethoven takes his time for everything happening in this Sonata and so should you. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid8bqLCrKMkL6vk3WvkTGk7DuzQd7mLG1OG1Hs0eTOiEkzC6lBSky6IbbkPh97hXShaC6sLxULmyR3QRSmtS4xtiKs5tc2lZn-f1PKonHk2K4Q-Oy-9lzLcU9oztqbvuaL1EOBKNUUFmI/s1600/Opus+28_7.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid8bqLCrKMkL6vk3WvkTGk7DuzQd7mLG1OG1Hs0eTOiEkzC6lBSky6IbbkPh97hXShaC6sLxULmyR3QRSmtS4xtiKs5tc2lZn-f1PKonHk2K4Q-Oy-9lzLcU9oztqbvuaL1EOBKNUUFmI/s1600/Opus+28_7.png" /></a></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Although again this Rondo is traditional in form it goes far beyond that. The thematic elements are leitmotivs and contrasting sections work as a second Rondo motive. Finally - we might say - Beethoven has discovered the Rondo as to this point he has struggled with that form and very often deviated into Sonata form. </span><br />
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<span style="font-size: large;">Finally Beethoven has discovered what you can do with a Rondo. Leading up to the Waldstein he will continue what he has discovered here.</span><br />
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To hear this Sonata you can follow this link. Not necessarily my favourite interpretation as it lacks some of my own emotions associated with this Sonata. Very classical though. I couldn't find Andreas Schiff:<br />
<a href="http://www.youtube.com/watch?v=guzBVbU2JxY">http://www.youtube.com/watch?v=guzBVbU2JxY</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-24085162542575605302012-10-14T03:42:00.001-07:002012-10-14T04:53:00.528-07:00Quasi una fantasia<br />
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<span style="font-size: x-large;">Two in one</span></div>
<span style="font-size: large;"><br /></span><span style="font-size: large;">Opus 27 consists of two Sonatas 'quasi una fantasia'. One of them adored and played until the sheet music turned to dust and the other hardly looked at and entirely unknown by the public at large, even though it is in Beethoven's favourite key: three flats.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw2wPk_3pqw_cRK02xYlemFQqCE0uKxNnurLCGlM9TY1RhXc_mLD_c-qLdcmJTs79z7zdw_GREbZ8fShVtX8XghVtnHvtfnCpdXnaRzK0ZJDS-jgAGTR4Be8sk0XE34qCWc2HIIW0rfKU/s1600/opus271_1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw2wPk_3pqw_cRK02xYlemFQqCE0uKxNnurLCGlM9TY1RhXc_mLD_c-qLdcmJTs79z7zdw_GREbZ8fShVtX8XghVtnHvtfnCpdXnaRzK0ZJDS-jgAGTR4Be8sk0XE34qCWc2HIIW0rfKU/s400/opus271_1.png" width="400" /></a></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Beethoven stayed on his course of his middle period and the idea in no.26 to start with a variation must have evaluated positively in his mind. But the variation - too Czerny for my liking - doesn't really take off and Beethoven, deciding that an Allegro is more appropriate after all, continues in frenzied broken chords, to return afterwards to the beginning. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtsJJLZ5-oy6VCbVwpKeG8d7Ui3d7Lswxcv_NBP_QTCJscO_2a9M8NUXs9zF13NOeRnXtaLWAqL64YXXmcv59qKD5djAwHjVfwqPk2tl1xraKK77aZzfOiqW2pzsbSsH_zDYKkuE6U4W0/s1600/opus271_2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtsJJLZ5-oy6VCbVwpKeG8d7Ui3d7Lswxcv_NBP_QTCJscO_2a9M8NUXs9zF13NOeRnXtaLWAqL64YXXmcv59qKD5djAwHjVfwqPk2tl1xraKK77aZzfOiqW2pzsbSsH_zDYKkuE6U4W0/s640/opus271_2.png" width="640" /></a></div>
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<span style="font-size: large;">Which reminds me of my composition teacher who reprimanded me for my habit to end exactly as I begun. 'For me that is a cycle completed.', I retorted. 'But nobody does that', he retorted, which resulted in my mind the question arising: 'So?' </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">But it is not true. Bach does it often and Beethoven does it quite often too. Admittedly. John Cage doesn't..</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">So far this sonata left me quite un-impressed, but this is going to change. Admonishing to continue immediately with the next Allegro Molto Vivace:</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTQ3Sl_ToZd-5F_KISE1ESVNP6bNpQAyyUol1nlWISew5Lpy4C2U6g02R6l86sC5ZRVr5a4Bj0nA4NoHnnYG6yWasZwK0Bt5C4VlA4C5bnkv3Gvr0YY9oeX7xPMlDPi2P-ALxAEr2InF4/s1600/opus271_3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="88" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTQ3Sl_ToZd-5F_KISE1ESVNP6bNpQAyyUol1nlWISew5Lpy4C2U6g02R6l86sC5ZRVr5a4Bj0nA4NoHnnYG6yWasZwK0Bt5C4VlA4C5bnkv3Gvr0YY9oeX7xPMlDPi2P-ALxAEr2InF4/s400/opus271_3.png" width="400" /></a></div>
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<span style="font-size: large;">The fantasia here is about sonata form. What Beethoven is discovering here is one continuous flow of music and doing away with different movements. Something composers as Liszt and the progressives will do later on and claim their invention. Not so... Beethoven is discovering just that here and doing it. </span><br />
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<span style="font-size: large;">No wonder that again the performer is admonished to continue into the Adagio immediately. <i>Attacca subito... </i>and so unto the last part. (I won't call it <i>movement</i> here)</span><br />
<span style="font-size: large;"><i><br /></i></span>
<span style="font-size: large;">Suddenly I am so impressed...</span><br />
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<span style="font-size: large;">Here you can hear Barenboim playing the first part (unfortunately the editor is stuck in the movement idea still and stops):</span><br />
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<span style="color: yellow; font-size: large;"><a href="http://www.youtube.com/watch?v=5-FHE_v2RPk">http://www.youtube.com/watch?v=5-FHE_v2RPk</a></span><br />
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<span style="font-size: large;">There is no connection between this sonata and the following 'quasi una fantasia' opus 27. no. 2 apart from them being in the same opus set and both being 'quasi una fantasia'. </span><br />
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<span style="font-size: large;">But this no.2 took the world by storm, with the public giving the name: Moonlight. This time Beethoven was not impressed. For him this was surely not his best sonata and apart from opening with the slow middle movement this Sonata in form is very very traditional. </span><br />
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<span style="font-size: large;">Every students wants to play this, unfortunately too soon. But even my brother who never learnt to play the piano could play the first 8 bars...</span><br />
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<span style="font-size: large;">The minuet is one of the most beautiful ones around, very similar in ideas though to the opus 26 one. Just taken a bit further. </span><br />
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<span style="font-size: large;">And then of course the final movement. Not as hard as people think with the right approach. Again a Beethoven 'rondo' in pure Sonata Form. </span><br />
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<span style="font-size: large;">The 'quasi una fantasia' bit for the Moonlight we put into dance. Music lovers enjoy. Dogmatics who think you can't dance on Beethoven Sonatas: '*****' . </span><br />
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<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=lAaLR90M6I4&list=UUu1GATGrNk7SbdpEEtbF3jw&index=3&feature=plcp">Moonlight Movement 1 with dance</a></span><br />
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<a href="http://www.youtube.com/watch?v=5kJDXorZqo0&list=UUu1GATGrNk7SbdpEEtbF3jw&index=2&feature=plcp"><span style="font-size: large;">Moonlight Movement 2 with dance</span></a><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-88641100585482413752012-09-08T11:56:00.002-07:002012-09-09T03:06:04.469-07:00Innovation<br />
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<span style="font-size: x-large;">Let's open with the </span><br />
<span style="font-size: x-large;">2nd Movement</span><br />
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<span style="font-size: large;"><br /></span><span style="font-size: large;">Beethoven's middle period is starting with this sonata in Ab opus 26. When you have mastered the art you are allowed to start breaking the rules. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">In this Sonata Beethoven dispenses with a Sonata Allegro opening all together and opens with the slow traditional 2nd variation movement. Very obvious variations. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">And he will develop a taste for it, like with the famous Moonlight Sonata, although here Beethoven does write four movements, as if he wanted to make a statement. He was not just forgetting the first movement, but is experimenting with the Sonata as a model. Hence there are four movements in opus 26. </span><br />
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<span style="font-size: large;">Some familiar compositions of other composers always pop up in comments on this Sonata. But the 'chicken or the egg' question does not surface when compared with Schubert's impromptu in Ab opus 142. Schubert wrote 'his' so much later and they were only published after his death, so close to that of Beethoven. </span><br />
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<span style="font-size: large;">And now we are talking death anyway, the third movement is a funeral march and of course Chopin's famous funeral march is inspired by it. </span><br />
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<span style="font-size: large;">It would be very interesting to know whose funeral Beethoven had in mind especially considering the outburst of joy in movement no. 4. </span><br />
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<span style="font-size: large;">Unlike Schubert's impromptu which is beautiful even when played too slow, this opening should really be easy going. It is written in 3/8 for a reason. Feel one pulse per bar. To play it in slow three would really spoil the mood of this beautiful set of variations. And the variations are beautiful all five of them. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">If you do that you will discover that the variations flow very naturally into movement 2, which is a lively Scherzo.</span><br />
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<span style="font-size: large;">With the opening of the Sonata and this Scherzo you feel the Moonlight Sonata coming. It's only one opus number after this one!</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">And then you have this dramatic funeral March. Which is <i>sooo</i> sad, that indeed it does become suspicious. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1ezkUQbaYvSGuXqgKDPR4C_Edtn7RZ_IrQXZtzQfSsUcGuegeUVXltVCFCVstVqgAke8WBFP5O_y3SSjV7EDG_XAHj_cI9qNFvFBKc3KYu3vtgxZslG_GXnJUBYMkIwPJdCc7JLhS0NI/s1600/opus26_3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="97" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1ezkUQbaYvSGuXqgKDPR4C_Edtn7RZ_IrQXZtzQfSsUcGuegeUVXltVCFCVstVqgAke8WBFP5O_y3SSjV7EDG_XAHj_cI9qNFvFBKc3KYu3vtgxZslG_GXnJUBYMkIwPJdCc7JLhS0NI/s400/opus26_3.png" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEqNLKf2H3gxvKtbHW7uhkvHAMOcGHZOaeTfZdODe2uo_BP-tONrWt-7Eq7S87Gh83jo-BM2eOrXIB0SCqbxblKfp2K5f7hObsVRLXCfUItsc2MS6cU7PhNZYqd2npFskPn4DWGYmB6NE/s1600/opus26_5.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEqNLKf2H3gxvKtbHW7uhkvHAMOcGHZOaeTfZdODe2uo_BP-tONrWt-7Eq7S87Gh83jo-BM2eOrXIB0SCqbxblKfp2K5f7hObsVRLXCfUItsc2MS6cU7PhNZYqd2npFskPn4DWGYmB6NE/s200/opus26_5.png" width="200" /></a><span style="font-size: large;"><i>"sulla morte d'un eroe' </i>This IS cabaret isn't it? Did Beethoven parody the french revolution here? And what to think of this bar on the left? So difficult to perform with dignity. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">To really see that just notice what Beethoven is doing the moment the last hand-full of earth is thrown on the coffin!</span><br />
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<span style="font-size: large;"><br /></span>
<span style="font-size: large;">And now let's party! It is a real Rondo also. For the first time Beethoven has written an entire Sonata without a movement in Sonata form!</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Students. This sonata is an excellent programme choice, but handle with care! Here is a performance by John Lill, which I think catches the mood very well.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=8SPwpYFacGg">John Lill, movement I</a></span><br />
<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=F1x439HYGCc">John Lill, movement III</a></span>
<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=U4TwxFTbyb8">John Lill, movement IV</a></span>
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<span style="font-size: large;">Contrast the first movement with this:</span><br />
<span style="font-size: large;"><br /></span>
<a href="http://www.youtube.com/watch?v=X5mPCGowF7Q"><span style="font-size: large;">Artur Papazian</span></a><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-79034997974744979582012-08-19T05:46:00.002-07:002012-08-20T09:12:20.635-07:00The closing Sonata of Beethoven's early period<br />
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<span style="font-size: x-large;">Sonata Opus 22</span><br />
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<span style="font-size: large;"><br /></span>
<span style="font-size: large;">This is Beethoven's closing Sonata in his early period. The distance to his previous sonatas Opus 14 is remarkable considering how many piano sonatas he wrote in his early Opus's. Obviously Beethoven in this period starts writing for other settings and is maturing as a composer. </span><br />
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<span style="font-size: large;">This Sonata is one of the lesser known Sonatas and is not at all easy to understand. I really didn't like the Sonata very much until I heard a performance of it by New Zealand pianist Michael Houston, which was very masculine and classical Beethoven in his way of playing. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">I consider it Beethoven's last attachment to Joseph Haydn and from now on Beethoven will embark onto his own particular style. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">This sonata appears approx. 2 years after his opus 14, but it is most likely that he wrote most of it more closely to his opus 14, which is around 1798. It only was published later.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Which means Beethoven's early period closes around 1799 and it is interesting in this respect to see what happened in Beethoven's life around 1800 to understand this step into maturity. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkZ0DiO3B23yNEcTVisw4YLa1-VIR152S53AGfLGx9dJztCZ2jyJ9FKstvTsWlfwKso9cmlB_Ln2n3teDot71c98oUap-uZFlHUkqdMqi_1qGp-vyIBO4n67RL-uOWJZiMvO1wtg9XATE/s1600/Beethoven_Deaf_by_Artigas.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkZ0DiO3B23yNEcTVisw4YLa1-VIR152S53AGfLGx9dJztCZ2jyJ9FKstvTsWlfwKso9cmlB_Ln2n3teDot71c98oUap-uZFlHUkqdMqi_1qGp-vyIBO4n67RL-uOWJZiMvO1wtg9XATE/s200/Beethoven_Deaf_by_Artigas.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Beethoven Deaf<br />
by Artigas</td></tr>
</tbody></table>
<span style="font-size: large;">His first symphony was performed at Vienna in 1800. This explains to some extend the gap between opus 14 and opus 22. It also indicates that Beethoven now thought himself ready to start writing for an Orchestra. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Around 1800 he discovered the beginnings of his becoming deaf. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The gap unfortunately also involves his letters. There are many before 1797 and many from the year 1800, but a noteable silence in exactly these years...</span><br />
<span style="font-size: large;"><br /></span>
<i>Does Amenda think that I can ever forget him, because I do not write? in fact, reserved! The best man I ever knew has a thousand times recurred to my thoughts! Two persons alone once possessed my whole love, one of whom still lives, and you are now the third. How can my remembrance of you ever fade? You will shortly receive a long letter about my present circumstances and all that can interest you. Farewell, beloved, good, and noble friend! Ever continue your love and friendship towards me, just as I shall ever be your faithful.</i><br />
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<span style="font-size: large;">Biogrophies still write about the 'young Beethoven', but around 1800 Beethoven approaches his 30th year and the discovery of his deafness will have prompted a period of reflexion and withdrawal from writing letters. </span><br />
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<span style="font-size: large;">His works though were in great demand and he maintains his connections with the music lovers amongst the nobility whom he approaches with confidence, yes more - as Joseph Haydn joked - '<i>the great Mogul</i>'. </span><br />
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<span style="font-size: large;"><br /></span><span style="font-size: large;">This is still very classical and probably the last time Beethoven will do something like this. But even the opening is tricky, but that is because it is not really piano texture. Some contrasting elements of the second theme: </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilFk6pgv_RWablp0DlcO_gCG74jobIG9aPvxoVyZiMBJokcDocvIkm3EzdiSGLYukUiqtdRlotMcK5jum5WZQBPrbYSGics7kPJwmWPlWrNciQBK0HGVjkoY9viLSltO6A-K41nwynvR0/s1600/opus22_2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilFk6pgv_RWablp0DlcO_gCG74jobIG9aPvxoVyZiMBJokcDocvIkm3EzdiSGLYukUiqtdRlotMcK5jum5WZQBPrbYSGics7kPJwmWPlWrNciQBK0HGVjkoY9viLSltO6A-K41nwynvR0/s400/opus22_2.png" width="400" /></a></div>
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<span style="font-size: large;"><br />This filled me with horror the first time I read through it. Even the rhythm of the theme associated with some quite vulgar folk tunes I knew. But again Michael Houston's performance of this Sonata revealed it was really me that was the problem not this Sonata. We leave him this honour, because my favorite sonata this one never will be. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Let us just assume that Beethoven had more important things to do around this time, and indeed he had. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWRzh505v0ovS1OYS3LDQaIHSoO6YUIPP2xx2GhtA0Az67j6B52XhfvNMec3QagfUTUJVmtgFZ2Ag1mu0xP5s4xjpiAuksH7p3uGL4Y72wkLnQsiA3puPEHIQVsH1M_EXbFNcMw2YiC1g/s1600/opus22_3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWRzh505v0ovS1OYS3LDQaIHSoO6YUIPP2xx2GhtA0Az67j6B52XhfvNMec3QagfUTUJVmtgFZ2Ag1mu0xP5s4xjpiAuksH7p3uGL4Y72wkLnQsiA3puPEHIQVsH1M_EXbFNcMw2YiC1g/s640/opus22_3.png" width="640" /></a></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The second movement did not bring a change of mood, apart from the idea that perhaps this Sonata was not intended to be for piano at all. It was just a sketch for a violin sonata of some sort. That would just make this second movement beautiful. And his brother Carl - as with the Opus 49 sonatas - published them without his consent. That certainly would have done for me. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The thematic unity of the third movement - a minuet - with the first two is very striking. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGd7Ia-mFzQClBvN4HEuLP43DQRhBxxCMdHRG7PoUaauIUbeLrKJUrAIt_ZEdfflAksZWH6zYPnAe4DaAteo6uPNItCsPsyTtEVAAZF-ysFPmHsUbAy9RAGFwGf1nq3fT2X4C8D2AZCcw/s1600/opus22_4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGd7Ia-mFzQClBvN4HEuLP43DQRhBxxCMdHRG7PoUaauIUbeLrKJUrAIt_ZEdfflAksZWH6zYPnAe4DaAteo6uPNItCsPsyTtEVAAZF-ysFPmHsUbAy9RAGFwGf1nq3fT2X4C8D2AZCcw/s640/opus22_4.png" width="640" /></a></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">And then suddenly, even though the second movement might have charmed me, the minor trio re-enforces my doubts again. Did Karl Czerny put in an unexpected chance visit for one of his students? :</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTeUQzPpyzG8hXivJP2rJqnxGn3hWHtJaocFnujAT8BDsWf9C32nvsjdOnUmjZAbbisdb2ZHUySkEZeVvYYY_eBvch-y6UMyVQob2NjC4OCTlrGIkj4TaH13RJqrBBSZ8ta2TnvVzTwgM/s1600/opus22_5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="113" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTeUQzPpyzG8hXivJP2rJqnxGn3hWHtJaocFnujAT8BDsWf9C32nvsjdOnUmjZAbbisdb2ZHUySkEZeVvYYY_eBvch-y6UMyVQob2NjC4OCTlrGIkj4TaH13RJqrBBSZ8ta2TnvVzTwgM/s640/opus22_5.png" width="640" /></a></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Do we expect a change of mood in the last movement? No! By now, I am absolutely convinced that this sonata is only a sketch for a violin sonata. Up to the typical popular key for the violin. Bb! </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1pdW67R8JJUlb1cYWg89qg-hvpP5UHrBdkw9XqnpbciahLkxxhnw4cNLhZlUnxsYomgCmHZEcNYClZHH3r3UK6CKfGUYqBtac0mJakIB65-Mdo0IMiFiMkSvDGKBXFdhf50LKKg3kDUw/s1600/opus22_6.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1pdW67R8JJUlb1cYWg89qg-hvpP5UHrBdkw9XqnpbciahLkxxhnw4cNLhZlUnxsYomgCmHZEcNYClZHH3r3UK6CKfGUYqBtac0mJakIB65-Mdo0IMiFiMkSvDGKBXFdhf50LKKg3kDUw/s640/opus22_6.png" width="640" /></a></div>
<span style="font-size: large;"><br />There being only one man - not even the famous Beethoven interpretors - who can bring me off that conviction. </span><span style="font-size: large;"><a href="http://www.michaelhoustoun.co.nz/discs.html">Michael Houston</a> .</span><br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-12120258315874881672012-07-22T10:45:00.000-07:002012-08-19T03:54:17.199-07:00Opus 14 #1 and #2<br />
<div style="text-align: center;">
<span style="font-size: x-large;">Sonata Opus 14 </span><br />
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<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Beethoven continues to honour Joseph Haydn in these two Sonatas. To such an extend that the first of the two sonatas was reworked to a String Quartet, a form which was invented by Joseph Haydn. To hear this sonata played by a quartet of String instruments you can go to this link:</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><a href="http://www.classicalarchives.com/work/43432.html">http://www.classicalarchives.com/work/43432.html</a></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Andreas Schiff in his lecture on Beethoven Sonatas discusses these two sonatas together with Opus 49 and Opus 22. This would rank these sonatas as the easier piano sonatas by Beethoven. But - as an expert - Adreas Schiff knows there is no easy music and for that reason assumes they are actually quite hard to play and interpret. </span><br />
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<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The sonata was very popular in his days, because it was suitable for intermediate advanced pianists and Beethoven still at this stage writes for this audience. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The texture though is extremely suitable for a quartet and Beethoven might even have had this in mind from the start.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The second movement is a lively but very tragic minuet in E-minor, the trio being bright and cheerful. Beethoven is experimenting with lots of things and meanings here turning the minuet and trio upside down.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">And enjoy the rondo, whilst Beethoven still writes them! Mostly with Beethoven Rondos he will deviate to sonata form.</span><br />
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<span style="font-size: large;"><br /></span>
<span style="font-size: large;">After the second presentation of the theme he will go to minor and this bit is extremely fun to play and listen to:</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisUAfqk-fjM6ZlQuUSFeF3RcQiPjW-rjLP6dYwPQK4oY1SU_nAP3LEe85lWQiKcHdYPoLgLfZs7ZXWfkdFijD9R3TOG4SDF2O2dNwx1W5cBRrpqjo2fmA7IkHclrAwuBaPvhdEOzk8L_E/s1600/opus14_3b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisUAfqk-fjM6ZlQuUSFeF3RcQiPjW-rjLP6dYwPQK4oY1SU_nAP3LEe85lWQiKcHdYPoLgLfZs7ZXWfkdFijD9R3TOG4SDF2O2dNwx1W5cBRrpqjo2fmA7IkHclrAwuBaPvhdEOzk8L_E/s400/opus14_3b.png" width="400" /></a><br />
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<span style="font-size: large;">After this he will present the theme in minor also and play around a bit with the rhythm of the theme, which might have brought him to the idea for Sonata number 2 of this Opus. Experiment with rhythm!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTwKKM1stRAZV5y0PB7W5mP5kqLwtpGWqAh75VLCvvWV1E5xMCinjmRRKT0F0-jE7Wd2mEvoJSCyfXt4HBjdV9cdzSNGWmXb02EPdOQE_ezz-tFMsgHaQD_jnXFzi5qZMyEeVzd1GW7sg/s1600/opus14_2_1a.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTwKKM1stRAZV5y0PB7W5mP5kqLwtpGWqAh75VLCvvWV1E5xMCinjmRRKT0F0-jE7Wd2mEvoJSCyfXt4HBjdV9cdzSNGWmXb02EPdOQE_ezz-tFMsgHaQD_jnXFzi5qZMyEeVzd1GW7sg/s400/opus14_2_1a.png" width="400" /></a></div>
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<span style="font-size: large;">Definitely the most interesting of the two this sonata is a constant trick and play with rhythm. Charles Rosen says of this sonata that the performer should not even try to emphasise the shift in rhythm. But equally misguided would be for the pianist to put his/her weight on the first 'G' in the left hand, which 9 out of 10 will do. And after all Beethoven <b>did</b> write an accent on the first note of the bar, even if it is not a Beethoven <b><i>sf</i>.</b></span><br />
<span style="font-size: large;"><b><br /></b></span>
<span style="font-size: large;">Again, everything in this sonata shouts Joseph Haydn. the 2/4, the rhythmic tid bits and demi-semi quavers. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Many reminders to the first of these two sonatas also Beethoven continues to build on what he has done before, although this 2nd sonata is not at all suitable for a quartet. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">And then my favourite! Cabaret! Beethoven really has done it all. This is pure stage humour!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifRxRCZJ7eyHm8q1tggeeKp_8YJaJ30MPH-JlF-OCCcleEnisIF32ZM0u7o3RgK4JX6dbA0Zq6-9PHdUdsPt_4Tn5mP6obeD8kERhj_MKkODbcX5VFxpY3NT2RrJ2h3nLLYxTSdbDyjas/s1600/opus14_2_2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifRxRCZJ7eyHm8q1tggeeKp_8YJaJ30MPH-JlF-OCCcleEnisIF32ZM0u7o3RgK4JX6dbA0Zq6-9PHdUdsPt_4Tn5mP6obeD8kERhj_MKkODbcX5VFxpY3NT2RrJ2h3nLLYxTSdbDyjas/s400/opus14_2_2.png" width="400" /></a></div>
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<span style="font-size: large;">This movement features in my mind in a stage show, where Beethoven entirely disillusioned with the Europe of his days decides to put his deeds where his mouth is and to emigrate to New Zealand. He only did not quite anticipate the response - like the British in his days thought of his music as being barbaric - of the locals he would solicit, who would think it their duty to eradicate all Germanism in Beethoven's conduct and music and to remind him of the fact that the definite standard was already set by Purcell. Poor man!</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">And again enjoy it: a Rondo! But only because after the 2nd movement in traditional variation form you would expect a minuet, but Beethoven now decides to combine Scherzo and Rondo into <b>one </b>movement. When will you go back to four movements again Mr. Beethoven?</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy-4AbRI_g3yHqkUgdEwDqCBv1B2EO6yRASeJS-909HkkPoxT2lKxUyFVZwcLpPJLroyUuqiA4nuDOOUIoOAWOVelHyx_6LjxhOwO2PgyypNscmllr5Mf0qs1ahM0h-2gPlSpZqFufkAM/s1600/opus14_2_3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy-4AbRI_g3yHqkUgdEwDqCBv1B2EO6yRASeJS-909HkkPoxT2lKxUyFVZwcLpPJLroyUuqiA4nuDOOUIoOAWOVelHyx_6LjxhOwO2PgyypNscmllr5Mf0qs1ahM0h-2gPlSpZqFufkAM/s400/opus14_2_3.png" width="400" /></a></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Can rhythm be more Joseph Haydn as presented here?</span><br />
<span style="font-size: large;">Again listen to Daniel Barenboim...</span><br />
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<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=fPsDwKAWN4U">http://www.youtube.com/watch?v=fPsDwKAWN4U</a></span><br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-64327755347569413372012-07-01T12:07:00.002-07:002012-07-01T12:45:51.823-07:00Lunch concerts continued<div class="separator" style="clear: both; text-align: center;">
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I found this on the web somewhere. Great! Keep them coming! So agree with every word.... But.... temperamental foibles? Moi?<br />
<span style="background-color: white; font-family: arial, helvetica, clean, sans-serif; line-height: 21px; text-align: left;"><br /></span><br />
<span style="background-color: white; font-family: arial, helvetica, clean, sans-serif; line-height: 21px; text-align: left;"><a href="http://www.northernadvocate.co.nz/news/pack-your-sammies-and-enjoy-lunchtime-recitals/1360412/"> http://www.northernadvocate.co.nz/news/pack-your-sammies-and-enjoy-lunchtime-recitals/1360412/ </a></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqR91MqdGEl94lXxafJ0MosuIb4mqlKVCRoAMf7KB0ZGzTdZ20CVz4Dv2Yjvk2069tCLdXQrMLLraYMzV6SJvfIwMf6W2n31F0roaE2nEXR4aZc7xqXBcUy-H_bRJ6HIFTY44SZtJ8oWI/s1600/Yuka_Bath.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqR91MqdGEl94lXxafJ0MosuIb4mqlKVCRoAMf7KB0ZGzTdZ20CVz4Dv2Yjvk2069tCLdXQrMLLraYMzV6SJvfIwMf6W2n31F0roaE2nEXR4aZc7xqXBcUy-H_bRJ6HIFTY44SZtJ8oWI/s1600/Yuka_Bath.JPG" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, clean, sans-serif; font-size: 12px; line-height: 18px; text-align: left;">Yuka Bath is ensuring monthly lunchtime <br />music recitals continue</span>
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<span style="font-family: arial, helvetica, clean, sans-serif; font-size: 14px; line-height: 21px; text-align: left;">Regardless of his temperamental foibles, piano teacher Art Zegelaar's practical imagination certainly enlivened Whangarei's musical culture. </span><br />
<span style="font-family: arial, helvetica, clean, sans-serif; font-size: 14px; line-height: 21px; text-align: left;">In particular, instead of presenting polished performances, his monthly recitals rather more revealingly illustrated work in progress. Alas, no more, now that the man with the get up and go has got up and gone.</span><br />
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<span style="font-family: arial, helvetica, clean, sans-serif; font-size: 14px; line-height: 21px; text-align: left;">Zegelaar, at first expecting to be away only temporarily, had persuaded one of his advanced students, Yuka Bath, to keep the lunchtime recitals ticking over. However, when it transpired that Zegelaar would not be back, Yuka decided to take them on and to imprint them with her own personality.</span><br />
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<span style="font-family: arial, helvetica, clean, sans-serif; font-size: 14px; line-height: 21px; text-align: left;">Zegelaar was convinced Yuka, if her abilities had been developed properly, could have become a notable pianist. Unfortunately, she had too tough a time of it. Being pushed over-hard in her formative years, she suffered numerous injuries and, as she says, "I think I had burnt out. I never touched the piano key for nearly 15 years... until I fell in love with a </span></div>
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<span style="font-family: arial, helvetica, clean, sans-serif; font-size: 14px; line-height: 21px; text-align: left;">piano I met in Kaitaia. I will never give up playing the piano again."</span></div>
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<span style="font-family: arial, helvetica, clean, sans-serif; font-size: 14px; line-height: 21px; text-align: left;">Yuka, helping to clear up the loose ends of Zegelaar's teaching commitments, got to know Matt Watson, "when I provided the final piano lesson for his daughter Zoe. I talked about my idea and he was so happy to help me."</span><br />
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<span style="font-family: arial, helvetica, clean, sans-serif; font-size: 14px; line-height: 21px; text-align: left;">The enthusiastic Matt Watson is himself no mean pianist; he and Yuka make a formidable team. Having got her teeth into the recitals - which take place on the third Wednesday of each month, at noon in the Old Library - Yuka is now planning a series of Young Musicians' Concerts at lunchtime on weekends.</span></div>
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<span style="font-family: arial, helvetica, clean, sans-serif; font-size: 14px; line-height: 21px; text-align: left;">Yuka is hoping to open up a niche, to create opportunities for players of different instruments and from diverse backgrounds to both entertain the public and broaden their musical horizons. The first one is on Sunday at 1 pm.</span><br />
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<span style="font-family: arial, helvetica, clean, sans-serif; font-size: 14px; line-height: 21px; text-align: left;">Don't just wish her every success - it's far better you pack some sandwiches, go along, and make it happen. For emails of forthcoming recitals and concerts, or to enquire about taking part, email Yuka at jjgenki@xtra.co.nz.</span><br />
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-22515679187569087852012-06-05T16:21:00.002-07:002012-06-09T02:58:26.405-07:00Art Zegelaar Piano Concerto<br />
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<span style="font-size: x-large;">Piano Concerto</span><br />
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<span style="font-size: large;">Hmmm. Sorry to interrupt my Beethoven series. I thought it is time to introduce my 'Piano Concerto'! </span></div>
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<span style="font-size: large;">I had so much fun writing it!</span></div>
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<span style="font-size: large;">It came about when I woke up one morning and actually had written the main theme whilst asleep and dreaming. Well...that's about 12 bars and I knew I had to write it down immediately otherwise I would forget it. You can hear it at 0:54. It goes through all 12 keys.</span></div>
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<span style="font-size: large;">I made the whole composition into a memory of my time in New Zealand and made a collage with my students in the scenery.</span><br />
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<span style="font-size: large;">There are 3 movements. </span></div>
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<span style="font-size: large;">________________________________________</span></div>
<iframe allowfullscreen="" frameborder="0" height="360" src="http://www.youtube.com/embed/8MtMkHEhvbY" width="480"></iframe><br />
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<span style="font-size: large;">_________________________________________</span><br />
<span style="font-size: large;">The first movement lasts about 6 minutes as it is now, but it actually is not entirely finished. Still room to elaborate. </span></div>
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<span style="font-size: large;">_________________________________________</span><br />
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<iframe allowfullscreen="" frameborder="0" height="360" src="http://www.youtube.com/embed/v7ZieAHerEM" width="480"></iframe>
<span style="font-size: large;">________________________________________</span><br />
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<span style="font-size: large;">The middle movement is actually is a cakewalk. Is good as is, I guess...</span><br />
<span style="font-size: large;">________________________________________</span><br />
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<iframe allowfullscreen="" frameborder="0" height="360" src="http://www.youtube.com/embed/MuMWwhDmYTc" width="480"></iframe>
<span style="font-size: large;">________________________________________</span></div>
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<span style="font-size: large;">Then the 3rd movement. Thought of as a Rondo at first but developed quite differently. Very exciting to listen to - I hope - and play also!</span><br />
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<span style="font-size: large;">Enjoy!</span></div>
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<span style="font-size: large;">_________________________________________</span><br />
<span style="color: #cfe2f3; font-size: large;">Remark: This piano concerto has never been performed or recorded. If someone is interested you are welcome to use above e-mail address...</span></div>
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-32561012307803740422012-05-10T02:12:00.001-07:002012-05-10T03:19:33.064-07:00Pathetique<br />
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<span style="font-size: x-large;">Sonata no. 8 Opus 13 </span><br />
<span style="font-size: x-large;">aka Pathetique</span></div>
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">According to Beethoven's letters he did not think this was his best work. Written in Beethoven's revolutionary spirit of the time he would later somewhat distance himself from that spirit. That distance though may have been caused more by his disappointment in Napoleon than his compositions of the time as such:</span><br />
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<span style="background-color: #fce5cd; color: #444444;">Do you mean to go post-haste to the devil, gentlemen, by proposing that I should write <i>such</i> a <i>sonata</i>? During the revolutionary fever, a thing of the kind might have been appropriate, but now, when everything is falling again into the beaten track, and Bonaparte has concluded a <i>Concordat</i> with the Pope--such a sonata as this? If it were a <i>missa pro Sancta Maria à tre voci</i>, or a <i>vesper</i>, &c., then I would at once take up my pen and write a <i>Credo in unum</i>, in gigantic semibreves. But, good heavens! such a sonata, in this fresh dawning Christian epoch. No, no!--it won't do, and I will have none of it.
</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">The name Pathetique was not given by Beethoven himself. As usual the names to his Sonatas were given by the public. An affectionate tribute by his public that is. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">This is a work, which every aspiring piano student would like at least to give a try. A slightly more difficult aspiration as 'Fuer Elise', which still tops this Sonata.</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">When I walked into a piano shop the other day there was a note attached to the grand piano there saying: </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;"><i>"If you try to play Fuer Elise on this piano and don't play it until the end, you will be shot!"</i></span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">There are several approaches to piano teaching. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">One is the idea that all your piano students are little concert pianists to be raised to perfection and accepting many will get stuck in the process. The other is that everything people achieve has to be dreamt about first and imperfect realisation of that dream should not be discouraged by destroying the thought itself.</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Did Serge Prokoviev not laugh about his own composition efforts as an 8 year old? But he still had to do it...</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Then you will see something as the following, which still is a big achievement for someone who has been learning piano for 1.5 years!</span><br />
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<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">The first movement opens with the famous slow </span><i style="font-size: x-large;">grave</i><span style="font-size: large;">. The intention is serious, by no means pathetic! </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYO2AGEdTMUbD_c5f20ZEMv_1B3W2oBnM5FFaFqf_0Q-MKOi5D5qVjeIAKncK9OTSJl2LfqjtInK-y9T9N4p3IAGQSS2cHVwzUEdj5P1ndVLfUfm_coXcJGnG4KVz0bXncZ1ItC-qRGnI/s1600/Opus13open.jpg" imageanchor="1"><img border="0" height="87" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYO2AGEdTMUbD_c5f20ZEMv_1B3W2oBnM5FFaFqf_0Q-MKOi5D5qVjeIAKncK9OTSJl2LfqjtInK-y9T9N4p3IAGQSS2cHVwzUEdj5P1ndVLfUfm_coXcJGnG4KVz0bXncZ1ItC-qRGnI/s320/Opus13open.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Opening Pathetique</td></tr>
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<span style="font-size: large;">Typical for Beethoven is the </span><i style="font-size: x-large; font-weight: bold;">f - p </i><span style="font-size: large;">sequence in the opening chord. There is an interesting way of doing this: </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Play the chord strongly with your sustained pedal pressed. While you release the keys halfway clear your pedal and press the keys again (without the hammer hitting the string) and the sound will change from loud to soft! And then of course continue softly! By all means do count the semiquavers instead of just guessing the length of the notes!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibJJDfY_c46j0QdmSlkMzao6Y9MLQgUVXy6_zIilgJDuOHB8k8DlQhcQMTBenIIaBEv_wBNCE464ug06ar38M9h1AaVGJuKP4bNuFvQGvzlqcQQbqnG5pdc8jcNU2_GtgIp0xA61sHCO0/s1600/Opus13_1.png" imageanchor="1"><img border="0" height="104" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibJJDfY_c46j0QdmSlkMzao6Y9MLQgUVXy6_zIilgJDuOHB8k8DlQhcQMTBenIIaBEv_wBNCE464ug06ar38M9h1AaVGJuKP4bNuFvQGvzlqcQQbqnG5pdc8jcNU2_GtgIp0xA61sHCO0/s1600/Opus13_1.png" width="320" /></a></div>
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">And now the real deal! The opening C stands on its own. You will save yourselves a lot of hassle if you start the E and Bb with fingers 5 and 2 with wrist staccato throwing up your hand taking over finger 4 on F. Then continue with 3-1 and 4-2 followed by 5-1,5-2 and 5-1. And same fingering afterwards. While you practise this there is no need to exhaust your left hand by playing the tremolos, but if you do keep the little finger and thumb close to the keys and involve the wrist. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Interesting to note is also the dynamic marking. We are still soft here and the temptation is always to give everything away right from the start leaving nothing to build afterwards. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">It is also good to realise this is classical music, so do go for the contrast. The second theme with all the grace notes is one of the most beautiful parts of piano literature and in full contrast with the first theme. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">As many of Beethoven's early/middle period sonatas there are only 3 movements. The second movement is very well-known also. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">I don't like the term 'famous' and always make fun when a student tells me he wants to play something '<i>famous</i>'. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;"><i>'YOU make something famous, there is beautiful music enough to chose from!'.</i></span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">We live in a time where the powers that be assume they can make anything famous, if only they set the right environment and '<i>tell</i>' people to accept it. It doesn't quite always work like that, but in the meantime the classical pianist unfortunately is in a disadvantage. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">But not so in China!</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Then the third movement. A real rondo for a change and a very catching one at that. We have already in a previous instalment pointed out that Beethoven keeps developing his material and see whether you notice the connection of the following example from this rondo and the example from the first movement above!</span><br />
<span style="font-size: large;"><br /></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTBIVpQ7lGvmohDgzFbPsNT502LKoO3pKt4DaNIpnzzqZtR1YFZvFndidc1FKZ-pIeh1lxsknOMxMKUJZgM_pYrnv7_9MeLhG7gIuzErDXu_vIkW8Mvlzhr9UZzyw413SzcvfSwOUZFy4/s1600/opus13_3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="96" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTBIVpQ7lGvmohDgzFbPsNT502LKoO3pKt4DaNIpnzzqZtR1YFZvFndidc1FKZ-pIeh1lxsknOMxMKUJZgM_pYrnv7_9MeLhG7gIuzErDXu_vIkW8Mvlzhr9UZzyw413SzcvfSwOUZFy4/s400/opus13_3.png" width="400" /></a></div>
<span style="font-size: large;">You see?</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">For further listening you may want to try this version played by Glenn Gould. Not because it is such a good example, rather an example of which pitfalls to avoid! </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=FL0u9QXNvEg">Glenn Gould playing Pathetique first movement</a></span><br />
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<span style="font-size: large;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-30488921829444700922012-04-19T03:38:00.000-07:002012-04-19T06:07:26.552-07:00Discovery of the Leit Motiv<br />
<div style="text-align: center;">
<span style="font-size: x-large;">Sonata no. 7 Opus 10 no. 3</span></div>
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">This Sonata is written in 1797, the year Beethoven published his revised version of his </span><span style="font-size: large;">2nd Piano Concerto - already performed once before his 1st in 1895 - and has 2 sharps for D major.</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">The key for exuberant joy!</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Like the other two sonatas in Opus 10 Beethoven still is giving a tribute to Joseph Haydn and in some ways setting an antithesis to the 3 Sonatas in Opus 2. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">They were dedicated to Haydn. </span><br />
<span style="font-size: large;">They were laying the foundation for the ideal! </span><br />
<span style="font-size: large;">Far above what Joseph Haydn did. </span><br />
<span style="font-size: large;"><br /></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjm07viaBSLtIn9CinTdzeWUf8iKj3JH98Fg3dX_BtWCeqq_f6r3BOoHDbjYL1Ubw6Q3Yx6ULMNsqXjhDEjFeXnq-gD7Dps426i1tEXQCiURTN94OJ30I41aDMrh7LymLRW70XAZgG4qQ/s1600/haydenbrowne.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjm07viaBSLtIn9CinTdzeWUf8iKj3JH98Fg3dX_BtWCeqq_f6r3BOoHDbjYL1Ubw6Q3Yx6ULMNsqXjhDEjFeXnq-gD7Dps426i1tEXQCiURTN94OJ30I41aDMrh7LymLRW70XAZgG4qQ/s320/haydenbrowne.jpg" width="257" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hayden Browne</td></tr>
</tbody></table>
<span style="font-size: large;">Opus 10 is dedicated to a piano student, countess van Browne, but are in itself a tribute to the music of Joseph Haydn. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">In the 3 Opus 10 sonatas Beethoven tries to communicate with a larger audience. Beethoven </span><span style="font-size: large;">tries to appeal.</span><span style="font-size: large;"> </span><span style="font-size: large;">Successfully for sure!</span><span style="font-size: large;"> </span><span style="font-size: large;">Like the Opus 2 sonatas they are quite different in character from each other. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Opus 10 no.1 Dramatic</span><br />
<span style="font-size: large;">Opus 10 no.2 Comical</span><br />
<span style="font-size: large;">Opus 10 no.3 Enigmatic</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">But he will compromise and for instance not write all 4 movements of a sonata. </span><span style="font-size: large;">But this last Opus 10 sonata does have 4 movements and is its longest.</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Always experimenting this sonata has a unison opening. That is all the voices play the same theme. The response is polyphonic. Full of classical contrasts staccato/legato. The unison section raising to the dominant the legato section falling back to the tonic key. </span><br />
<span style="font-size: large;"><br /></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwXCvpCGQLNczcsamqTYp7G9xmQO_Pgue6w5amWZdJzVQLQ9jlcsJVO_OCd29GfyYSItI-NS9yRzNDr4yUd_uxJNWrEgICScHVlEjT5YO3baQm6IhVAPdyFHJKwO_Rz_UEx2Y7TFYjkiQ/s1600/SonataOpus10_3_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwXCvpCGQLNczcsamqTYp7G9xmQO_Pgue6w5amWZdJzVQLQ9jlcsJVO_OCd29GfyYSItI-NS9yRzNDr4yUd_uxJNWrEgICScHVlEjT5YO3baQm6IhVAPdyFHJKwO_Rz_UEx2Y7TFYjkiQ/s400/SonataOpus10_3_1.jpg" width="400" /></a></div>
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Presto, but be consoled, it is in 2/4!</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">The reworking of the opening is brilliant! </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">The first four notes with an upbeat descending from Tonic to Dominant is one of the <i>leit-motivs </i>of this sonata. It may very well be that this is the sonata, where Beethoven became aware of the use of <i>leit-motivs</i> and will more and more build his sonatas around such techniques.</span><br />
<span style="font-size: large;"><br /></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4oyFdd5-cCoSFjFZk9Bqy3wLwqjkF6PKg6aI5U-iTkWypnRmdi_3AZ9d25UF2j32ScYpZkaRImh0N04sUavF0h1RUbnkn0L9NS1IoIRoZAirQ68qhzZeT1kkluMsNMT_ZpOcJHO80ALk/s1600/SonataOpus10_3_2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4oyFdd5-cCoSFjFZk9Bqy3wLwqjkF6PKg6aI5U-iTkWypnRmdi_3AZ9d25UF2j32ScYpZkaRImh0N04sUavF0h1RUbnkn0L9NS1IoIRoZAirQ68qhzZeT1kkluMsNMT_ZpOcJHO80ALk/s200/SonataOpus10_3_2.jpg" width="200" /></a><span style="font-size: large;">Interesting is also the sudden start of the 2nd theme in b-minor in bar 12, whereas the start of the right hand melody here might very well still be perceived in D-major. Too soon for the 2nd theme to start, but then also the 2nd theme is really an idea or leit-motiv, this time ascending and therefore just the reverse of the first four notes. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">In traditional sonata form after the presentation of the 2 themes we have a coda and that's it! But here, we can see that indeed Beethoven is doing something different. After bar 42, when the presentation of the second theme is finished the play with the leit-motiv really starts going! For that reason bar 42 ends in the tonic again. This is SOO not plain sonata-form! </span><br />
<span style="font-size: large;"><br /></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV7GYKNeA0472W6xEMkgeeWx03Kvb05imbyPVFfmpuI3_ol_vxL2wqMhyliUCwQUkjzYCMNTMPFJAc4f2IayPquZTDdE2NsZ3iYWyHYXviN63EkIUSrt7tql_kBHOknm5r8f4GgU8fPRo/s1600/SonataOpus10_3_3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV7GYKNeA0472W6xEMkgeeWx03Kvb05imbyPVFfmpuI3_ol_vxL2wqMhyliUCwQUkjzYCMNTMPFJAc4f2IayPquZTDdE2NsZ3iYWyHYXviN63EkIUSrt7tql_kBHOknm5r8f4GgU8fPRo/s320/SonataOpus10_3_3.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">leit-motiv</td></tr>
</tbody></table>
<span style="font-size: large;">The rest of the 'exhibition' then is playing with this leit-motiv as if it were the development section! </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">That's revolutionary Beethoven!</span><br />
<span style="font-size: large;"><br /></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8mdzyVJZ-7uIKz5D85VYQchlSg5XzMUdZs9ypAH5R4AhRGXtNYRKv2x28WzzXogERfIhItfcim3WBUILyF3z-n0tAxO8nNVCusNi1UrOlPsa1kE-6fuSr6uBZN8R8ZgOBx9Bngd8OKiw/s1600/SonataOpus10_3_4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="110" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8mdzyVJZ-7uIKz5D85VYQchlSg5XzMUdZs9ypAH5R4AhRGXtNYRKv2x28WzzXogERfIhItfcim3WBUILyF3z-n0tAxO8nNVCusNi1UrOlPsa1kE-6fuSr6uBZN8R8ZgOBx9Bngd8OKiw/s400/SonataOpus10_3_4.jpg" width="400" /></a></div>
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">The second theme is slow and sad! Very sad. And that's amazing too, because the whole mood of this sonata is so joyful. There are several of these 'Largo e mesto' movements in 6/8 in his later sonatas. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">The minuet and trio is unusual too. The first section - reminding of the opening of this sonata - is traditional enough, but the second section is fugal. The trio - supposed to go to minor - is in major too and is a joyful folks tune! Beethoven rarely repeats himself, but is not entirely above the pressure of music publishers. He will use the same tune in sonata opus 14 no. 2!</span><br />
<span style="font-size: large;"><br /></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkZLrP448OZH1gDrZKmEFeQSDl9Gt6i8F7zctAsAXSWbl-77dgjUYrw9zTkxZ7ZL00InMFMycJDGgSrGgjcmfVRvEllTccF-vXb8_03h_bl1tir59VOHTY9zwDk-GeupHwlSMT3ys8lFc/s1600/SonataOpus10_3_5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkZLrP448OZH1gDrZKmEFeQSDl9Gt6i8F7zctAsAXSWbl-77dgjUYrw9zTkxZ7ZL00InMFMycJDGgSrGgjcmfVRvEllTccF-vXb8_03h_bl1tir59VOHTY9zwDk-GeupHwlSMT3ys8lFc/s400/SonataOpus10_3_5.jpg" width="400" /></a></div>
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Remains the last movement. True: a real rondo! But again Beethoven makes it a vehicle for his leit-motiv and quotes from the first three movements extensively. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Hence in sonata no. 7 opus 10 no 3 Beethoven discovers the leit-motiv as means of composition, which will supersede that of sonata-form. Not Schumann or Liszt have discovered that!</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Beethoven did.</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;"><a href="http://audio.theguardian.tv/sys-audio/Arts/Culture/2006/11/09/no7dmaj.mp3">Lecture of Andreas Schiff on Opus 10 no. 3</a></span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-63144402747787539802012-03-26T14:38:00.001-07:002012-03-27T14:26:54.569-07:00Want to write a fugue?<div style="text-align: center;">
<span style="font-size: x-large;">So you want to write a fugue?</span></div>
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Glenn Gould once wrote a brilliant spoof on the 'cleverness' and 'nerves' needed to write a fugue.</span><br />
<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=N2JFgfc7c70">http://www.youtube.com/watch?v=N2JFgfc7c70</a></span><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguPyt1EvWfVnhe08uhh5ad9iCFxpVGfU5OriHJFrKMjEGpwl9BPUqvBOUzKkDKVDXF8lRI0wOJ_mC4zV7evAUus1N0HLdT7WTMJ3eXsqE1Jyu-5xhlr4LTtyfG8BH1sk2wAZR3G3F8A5k/s1600/constanzemozart.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguPyt1EvWfVnhe08uhh5ad9iCFxpVGfU5OriHJFrKMjEGpwl9BPUqvBOUzKkDKVDXF8lRI0wOJ_mC4zV7evAUus1N0HLdT7WTMJ3eXsqE1Jyu-5xhlr4LTtyfG8BH1sk2wAZR3G3F8A5k/s1600/constanzemozart.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Constanze Mozart</td></tr>
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<span style="font-size: large;">And you can imagine in the Mozart household, 'frau Mozart' - venting her frustration about the merit of Mozart's (economical) skills - whilst a vase was finding its way through the air towards 'herr Mozart's head: </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">"Why don't you ever write a fugue?"</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">It was such a baroque thing in those days! </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">But Mozart finally did in his Requiem, although the end result frightfully resembled Bach's Well Tempered Clavier!</span><br />
<span style="font-size: large;"><br /></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8S210a6D75Xw5GaK_2AOWuED_hvHSTDN6nSF5kLLn6ovf6TJech1PTg4Jk_Hm_KSusAEqugwV034DTVgrbSzItizJEYKlRoVh1GgA_ZerYv52TK6ux-8_VwQR7sTHV8FtluEY2dE-7cA/s1600/Bach_bookII_aminor.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8S210a6D75Xw5GaK_2AOWuED_hvHSTDN6nSF5kLLn6ovf6TJech1PTg4Jk_Hm_KSusAEqugwV034DTVgrbSzItizJEYKlRoVh1GgA_ZerYv52TK6ux-8_VwQR7sTHV8FtluEY2dE-7cA/s640/Bach_bookII_aminor.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bach's WTC II a minor fugue</td></tr>
</tbody></table>
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Beethoven though did have the cleverness and the nerves to write fugues. And made the form classical and his own!</span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">Apart from his 2nd piano concerto, which he really wrote before his first, in his Piano Sonatas already in no. 6 he will start using fugal forms and there is nothing baroque-ish about them! </span><br />
<span style="font-size: large;"><br /></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-kkbpvZdAVLqTpZrgcVnRhOv1kL4s3LS6C5cEjfRmZJSKNHqDYo8bcuNwL0_cFY118NP2xOrsM-jWlCl4HJplviYWWmv-5AHY-cP1bL8B3hfS4Fx01pkAQw0xEuUC6a-hw7vkMZ7mf_w/s1600/Beethoven6_3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-kkbpvZdAVLqTpZrgcVnRhOv1kL4s3LS6C5cEjfRmZJSKNHqDYo8bcuNwL0_cFY118NP2xOrsM-jWlCl4HJplviYWWmv-5AHY-cP1bL8B3hfS4Fx01pkAQw0xEuUC6a-hw7vkMZ7mf_w/s400/Beethoven6_3.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Opening 3rd movement Opus 10.2</td></tr>
</tbody></table>
<br />
<span style="font-size: large;">Beware the tempo though and it is good to consider that this Sonata is a tribute to Joseph Haydn and his 2/4 is really to be thought as 4 8's and not in two! There is hence no need to emulate the dazzling speed chosen by most modern pianists, although it seems to be part of the fun! Let it settle over the years! In typical Beethoven manner this final movement is also in Sonata Form and hence is NO rondo!</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtvDh1gc-Yx0mDgnFS96CtQcGI5o-aXXa8enlzBt4aEPwRgU_x91b5jYIlOWZt9vX0Wq6UbmDhNrZDED2h7ibgGhOBHlCTCOB_4yGWEEh5kVx0R_vUvpYSED271GoOAQfQHtqz84l8hts/s1600/Beethoven6_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="90" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtvDh1gc-Yx0mDgnFS96CtQcGI5o-aXXa8enlzBt4aEPwRgU_x91b5jYIlOWZt9vX0Wq6UbmDhNrZDED2h7ibgGhOBHlCTCOB_4yGWEEh5kVx0R_vUvpYSED271GoOAQfQHtqz84l8hts/s400/Beethoven6_1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Opus 10.2 opening.</td></tr>
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<span style="font-size: large;">The first movement likewise is in 2/4 and in typical Joseph Haydn style, watch those little motives so typical of Haydn. Beethoven has stepped down to the level of the general piano player of his days and he will have that player in mind for the foreseeable future. The sonata also has only three movements instead of four, which seemed to have suited Beethoven's desire to please the publishers. </span><br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;">The second movement is Minuet and Trio, but really Scherzo and Trio and like the first movement shouts Joseph Haydn all over! But as a tribute, not as an imitation of Haydn's music!</span><br />
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<span style="font-size: large;">Beethoven must have been in a really jolly mood when he started his final movement! But the fugue as form will stay with him and especially in his final period will elevate his music to a level which stands on its own, transcended above any musical style, also without any consideration of a the ability of the pianists to play them...</span><br />
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<a href="http://www.youtube.com/watch?v=0K9dHNH1Wps" style="font-size: x-large;">http://www.youtube.com/watch?v=0K9dHNH1Wps</a><span style="font-size: large;"> </span> <span style="font-size: large;"><br /></span><br />
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<span style="font-size: large;">Barenboim plays the second movement with great drama and then the fugue... starting at 4.14. Don't try that at home! Even he at 5:23 looses a bit of control, well.. hardly!</span><br />
<span style="font-size: large;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2255926559654536720.post-73855025378012141532012-03-11T08:12:00.002-07:002012-03-26T13:08:58.291-07:00Grand Sonata<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-large;">Opus 7</span></div>
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<span style="font-size: large;">Eb major or C minor is Beethoven's favourite key for sure. Composers do certain things in certain keys and the texture of a work in a certain key often is elaborated upon in later works in the same key. </span><br />
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<span style="font-size: large;">Study of the Sonatas, which have 3 flats is an enlightening enterprise in itself. 7 out of the 32 sonatas use that key signature and you can follow the development. Beethoven final sonata will be in C-minor and..... refer back to the Pathetique.</span><br />
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<span style="font-size: large;">Opus 7 is his fourth Sonata and is a grand sonata. After this sonata Beethoven, during a long period, will scale down the length of his sonatas. Beethoven probably realised it is one thing to write grand sonatas for the piano, but it is another thing for the general public to be able to play them!</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit8rFMHKZE0jyi9-7ai4yFXqjaehVEJeAsYyaauNaaTQHLsbyE9fTfrpEtI35yVIre5fMP1y2yg_aYUWyM4nMqaCDDAOccyK55msEwrhODQAd3iUdem2SXyWxexlj7HUcOpdm6eNf0QKo/s1600/Opus7_1.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="129" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit8rFMHKZE0jyi9-7ai4yFXqjaehVEJeAsYyaauNaaTQHLsbyE9fTfrpEtI35yVIre5fMP1y2yg_aYUWyM4nMqaCDDAOccyK55msEwrhODQAd3iUdem2SXyWxexlj7HUcOpdm6eNf0QKo/s400/Opus7_1.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Opening Opus 7</td></tr>
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<span style="font-size: large;">The opening of this sonata will be elaborated upon in the famous Pathetique Sonata (no. 8), which also claws back material from sonata no. 5 also in C minor. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdY3Ds00W6NpvqAwqPA0gMzn9pHHpkuyBAJ6cnIXDbTvmgIuEtF2VwGd3pQzPkhzBK7nhWTKap1ZMQw8xzI8NAM-xBboo5N1pT2j3ArzIadrFtDsj2RvChpCrkVLMURzVY53apLIODE0w/s1600/Opus13_1.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="105" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdY3Ds00W6NpvqAwqPA0gMzn9pHHpkuyBAJ6cnIXDbTvmgIuEtF2VwGd3pQzPkhzBK7nhWTKap1ZMQw8xzI8NAM-xBboo5N1pT2j3ArzIadrFtDsj2RvChpCrkVLMURzVY53apLIODE0w/s320/Opus13_1.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pathetique</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh_n1s2ZlF1FW2WjN5q34ihYcUkFwNYnH2qiD5b9GjCRImVDM6Dajwn8vNRZvTOXxj52BVb15pgEXY37o1Oe7e9F9AwL4W64aR1aznL98GmNCPo9mXhx_N3O6dkvtZiBnIU0qwT_h1DxQ/s1600/Opus13_2.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="69" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh_n1s2ZlF1FW2WjN5q34ihYcUkFwNYnH2qiD5b9GjCRImVDM6Dajwn8vNRZvTOXxj52BVb15pgEXY37o1Oe7e9F9AwL4W64aR1aznL98GmNCPo9mXhx_N3O6dkvtZiBnIU0qwT_h1DxQ/s200/Opus13_2.png" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pathetique final mvnt</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfFpOvuFHSGyHcaQq_w0SjkyXc0siHm_Wt73jglJQe3OGmeIQX9NoOAR2Pi2g2oysaj8MCo7SYxBpCG_70baOwIzcTrN8S5zNnPjFT8nyUwTGb2t6Rw1A_-NQKcN2EQB7xxVQ77wLIY6o/s1600/Opus10_2.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="84" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfFpOvuFHSGyHcaQq_w0SjkyXc0siHm_Wt73jglJQe3OGmeIQX9NoOAR2Pi2g2oysaj8MCo7SYxBpCG_70baOwIzcTrN8S5zNnPjFT8nyUwTGb2t6Rw1A_-NQKcN2EQB7xxVQ77wLIY6o/s200/Opus10_2.png" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Opus 10 Middle Mvnt</td></tr>
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<span style="font-size: large;">Beethoven then keeps building on what he has done in previous sonatas en continues to refer to material already used. That is nothing unusual. That is how composers develop and how you can see that a work is written by a certain composer. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSiqwkFKGhLuotDvh9db6vCvt_RTmhhErh9MCoVQ0ileB-tsxvATnjdyOZX8lEDAuFYl8VMCbE-_hdWl9nqwpTwWoYsu5tlyDNLSHhnj9wfQoU4Nf8q1uZRF36AxJHTyFV0vkkbfPmhyg/s1600/Lully.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSiqwkFKGhLuotDvh9db6vCvt_RTmhhErh9MCoVQ0ileB-tsxvATnjdyOZX8lEDAuFYl8VMCbE-_hdWl9nqwpTwWoYsu5tlyDNLSHhnj9wfQoU4Nf8q1uZRF36AxJHTyFV0vkkbfPmhyg/s320/Lully.png" width="304" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">J.B. Lully Royal Music-standard Enforcer</td></tr>
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<span style="font-size: large;">But in Beethoven's art it goes well beyond what composers do in the baroque period, namely writing the same music again and again. </span><br />
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<span style="font-size: large;">Handel is a notorious example. </span><br />
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<span style="font-size: large;">Or for instance Jean Baptiste Lully, who at the age of 18 concluded he now had mastered the art and knew it all. And put himself at the head of the Royal controlled art establishment to inspire other composers to do likewise...</span><br />
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<span style="font-size: large;">Nothing like that in Beethoven's art. Beethoven continues to develop and explore what <i>more</i> can be done with the same material.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBYDhS7RBLFShmRhjSVwTQjxxFRPmLP7JdJnlkF8ZfH8yNRtyeI745Euq2gcK1WFEjCqELLKn-TeKvXsosxOv_ANzrUcPTul7dVSLNpHOHkdyAi7QYRaf8RfePbTXOikUy3HRv9clAbG8/s1600/Opus7_2.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBYDhS7RBLFShmRhjSVwTQjxxFRPmLP7JdJnlkF8ZfH8yNRtyeI745Euq2gcK1WFEjCqELLKn-TeKvXsosxOv_ANzrUcPTul7dVSLNpHOHkdyAi7QYRaf8RfePbTXOikUy3HRv9clAbG8/s400/Opus7_2.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Opus 7 mvnt 2</td></tr>
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<span style="font-size: large;">The second movement is absolutely divine and one of my favourites. The long lines and long pauses give it so much momentum that it captivates the listener. "Ah", said the lady sitting next to me in the concert hall, whom I had never met, after listening to this movement. "This is so much better than sex". </span><br />
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<span style="font-size: large;">Further down Beethoven will give his staccato left hand above which the right hand plays a beautiful line in legato. An effect he will use very often in his later sonatas. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMsCq8Gl5M7MA5ikOgoRRBPNlM06BO_CvjwudT52AVCxvwGaA1-sOK_fPoCvNjeNa7A-lTPHe9ybkSvM-xbAwwR8eywUAGVGVtLnOc4kVshljXC40kn6nO3jI-8c3DnuUeUbRqBW4CKAo/s1600/Opus7_3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="91" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMsCq8Gl5M7MA5ikOgoRRBPNlM06BO_CvjwudT52AVCxvwGaA1-sOK_fPoCvNjeNa7A-lTPHe9ybkSvM-xbAwwR8eywUAGVGVtLnOc4kVshljXC40kn6nO3jI-8c3DnuUeUbRqBW4CKAo/s400/Opus7_3.png" width="400" /></a></div>
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<span style="font-size: large;">Then follows the minuet and trio of which really the trio is remarkable. Presented in Eb minor (6 flats) it is truely captivating. When you hear it the first time, you will stop with what you are doing and drop your pencil in amazement. </span><br />
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<span style="font-size: large;">The final movement is Beethoven's first attempt to write a rondo. A real rondo that is, not a sonata form movement. And the simplicity of the form is just not for him! The B-sections deviate into variations and at the end Beethoven does something, which (thank God!) he will never ever do again. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMz2MU2V0HdOYZWdf7AXb-ybcRzH8rASQtDtLG-Mgt4xyDyVtNkImBqJ4SMmSE2OmEi8iPV-WUmVNg-cSPYRNOdlRliQJkpIUQx_gaWjHGBzb9x2RuwVkqJQivYalKiORv3WuZ0debE40/s1600/Opus7_4.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMz2MU2V0HdOYZWdf7AXb-ybcRzH8rASQtDtLG-Mgt4xyDyVtNkImBqJ4SMmSE2OmEi8iPV-WUmVNg-cSPYRNOdlRliQJkpIUQx_gaWjHGBzb9x2RuwVkqJQivYalKiORv3WuZ0debE40/s400/Opus7_4.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Lloyd Webber modulation!</td></tr>
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<span style="font-size: large;">That is: you end in a certain key: just move up a semi-tone and repeat the whole thing a semitone higher. Andrew Lloyd Webber does it all the time, and he should be forgiven, you can't expect BritPop to know about modulation! </span><br />
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<span style="font-size: large;">But at least we can say, indeed Beethoven has done it all and isn't it cute he has done one thing in his youth he probably has regretted for the rest of his life?!</span><br />
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<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=pqJaLbbDXD4">http://www.youtube.com/watch?v=pqJaLbbDXD4</a></span><br />
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<span style="font-size: large;">Barenboim youtube recording stops exactly at the point of above mentioned modulation! Couldn't stand it either?....</span><br />
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<span style="font-size: large;">But this little experiment by Beethoven, quickly forsaken, has made Lloyd Webber into the wealthy man he now is (apart from using a lot of out of copyright classical themes)...</span><br />
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<span style="font-size: large;"><br /></span>Unknownnoreply@blogger.com0