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Joined: Nov 2006
Posts: 9,392
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"Could you show me please exactly what your pedal indication is all about with the first movement of Op. 27 No. 2?"
Beethoven: 'If I had known what a modern Steinway was capable of, perhaps I wouldn't have had such a heavy foot. But I stand by the rondo in the Op 53!'
Jason
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"Could you show me please exactly what your pedal indication is all about with the first movement of Op. 27 No. 2?"
Beethoven: 'If I had known what a modern Steinway was capable of, perhaps I wouldn't have had such a heavy foot. But I stand by the rondo in the Op 53!' I stand by that, too. It makes such a wonderful harmony when the I and V chords are blurred.
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Joined: May 2010
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To Liszt - "WHY SO MANY OCTAVES!?!?!?!"
Working on:
Chopin - Nocturne op. 48 no.1
Debussy - Images Book II
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Joined: Jul 2010
Posts: 166
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Full Member
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To Liszt - "WHY SO MANY OCTAVES!?!?!?!"
They're so fun!
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Joined: May 2010
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2000 Post Club Member
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Not after 29 minutes of a super demanding sonata and you just want to finish the damned thing!
Working on:
Chopin - Nocturne op. 48 no.1
Debussy - Images Book II
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To LVB:
In the exposition of your c minor sonata, should we repeat from the beginning, or start at the allegro?
Last edited by Ferdinand; 08/17/11 12:14 AM. Reason: typo
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Joined: Nov 2006
Posts: 9,392
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To LBV:
In the exposition of your c minor [Op 13] sonata, should we repeat from the beginning, or start at the allegro? It should be from the allegro. Lot of tripe in a few past threads about this very issue. Musically, IMO, I've never been convinced that repeating from the Grave makes any sense. It totally saps the forward momentum of the exposition, and repeats a very dramatic and a 'once-in-a-lifetime' introduction which has none of its astounding impact a second time around. I feel the exact same way about the Chopin Bb minor. Go at me, boys! 
Jason
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To LBV:
In the exposition of your c minor [Op 13] sonata, should we repeat from the beginning, or start at the allegro? It should be from the allegro. Lot of tripe in a few past threads about this very issue. Musically, IMO, I've never been convinced that repeating from the Grave makes any sense. It totally saps the forward momentum of the exposition, and repeats a very dramatic and a 'once-in-a-lifetime' introduction which has none of its astounding impact a second time around. I feel the exact same way about the Chopin Bb minor. Go at me, boys! I agree, as do both of my Urtext editions of the Pathetique.
Last edited by Steve712; 08/16/11 11:49 PM.
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Yikes! 10000 Post Club Member
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....I feel the exact same way about the Chopin Bb minor... I automatically thought of that example too. They're an automatic pair. 
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"Want to come with me and visit beet and tell him you really did write that response to a critic reviewing Wellington that beet hates so much?" (By the way, beet, I can show you the quote in Beethoven's own handwriting, if I can ever get myself to a scanner) hehe... you remember! How touching. btw, if you have evidence that Beethoven really said it, why didn't you just say so? I can certainly change my mind in the face of evidence. Although I still won't like it... And, yes, if you ever commune with the great LVB, please do come visit me. Maybe the three of us can sit down and discuss whether there really are elements of sonata form in op.27/2's first movement! -J
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Joined: Nov 2009
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7000 Post Club Member
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7000 Post Club Member
Joined: Nov 2009
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To LBV:
In the exposition of your c minor [Op 13] sonata, should we repeat from the beginning, or start at the allegro? It should be from the allegro. Lot of tripe in a few past threads about this very issue. Musically, IMO, I've never been convinced that repeating from the Grave makes any sense. It totally saps the forward momentum of the exposition, and repeats a very dramatic and a 'once-in-a-lifetime' introduction which has none of its astounding impact a second time around. I feel the exact same way about the Chopin Bb minor. Go at me, boys! I agree. I went to a performance recently, and the pianist repeated the first movement of the Op. 13 from the very beginning. It didn't work. The only people who liked it liked it just because of the academic purpose, but deep down, I'm sure even they know it doesn't musically work.
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Joined: Dec 2009
Posts: 6,651
6000 Post Club Member
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6000 Post Club Member
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"Want to come with me and visit beet and tell him you really did write that response to a critic reviewing Wellington that beet hates so much?" (By the way, beet, I can show you the quote in Beethoven's own handwriting, if I can ever get myself to a scanner) hehe... you remember! How touching. btw, if you have evidence that Beethoven really said it, why didn't you just say so? I can certainly change my mind in the face of evidence. Although I still won't like it... And, yes, if you ever commune with the great LVB, please do come visit me. Maybe the three of us can sit down and discuss whether there really are elements of sonata form in op.27/2's first movement! -J I thought that I'd told you that I had evidence before? It's actually a fairly known little tidbit that line he wrote, though I suppose it's not one of those that make it's way into the mainstream biography section for obvious reasons. If I can remember to do so and have access to a scanner one of these days I'll send it to you.
"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy
"It's ok if you disagree with me. I can't force you to be right."
♪ ≠$
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Joined: Feb 2008
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500 Post Club Member
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One thing I'd be interested in is composer's opinions on other composer's music, especially music that was made after their own death... for example Mozart listening to Tchaikovsky.
Last edited by babama; 08/17/11 05:17 PM.
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Joined: Jul 2010
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One thing I'd be interested in is composer's opinions on other composer's music, especially music that was made after their own death... for example Mozart listening to Tchaikovsky. Oh! That's a good one. I'd be really interested in what Beethoven would think of minimalist and atonal music.
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Joined: Jun 2009
Posts: 4,169
4000 Post Club Member
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4000 Post Club Member
Joined: Jun 2009
Posts: 4,169 |
One thing I'd be interested in is composer's opinions on other composer's music, especially music that was made after their own death... for example Mozart listening to Tchaikovsky. Oh! That's a good one. I'd be really interested in what Beethoven would think of minimalist and atonal music. Given certain moments of the Grosse Fugue, and given the trio from op.135's scherzo, Beethoven's thoughts on atonality and minimalism might not be what you might expect. -J
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Joined: Jul 2010
Posts: 166
Full Member
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Full Member
Joined: Jul 2010
Posts: 166 |
One thing I'd be interested in is composer's opinions on other composer's music, especially music that was made after their own death... for example Mozart listening to Tchaikovsky. Oh! That's a good one. I'd be really interested in what Beethoven would think of minimalist and atonal music. Given certain moments of the Grosse Fugue, and given the trio from op.135's scherzo, Beethoven's thoughts on atonality and minimalism might not be what you might expect. -J Actually, I was thinking of exactly those pieces when I said that!
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Joined: Jun 2009
Posts: 4,169
4000 Post Club Member
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4000 Post Club Member
Joined: Jun 2009
Posts: 4,169 |
One thing I'd be interested in is composer's opinions on other composer's music, especially music that was made after their own death... for example Mozart listening to Tchaikovsky. Oh! That's a good one. I'd be really interested in what Beethoven would think of minimalist and atonal music. Given certain moments of the Grosse Fugue, and given the trio from op.135's scherzo, Beethoven's thoughts on atonality and minimalism might not be what you might expect. -J Actually, I was thinking of exactly those pieces when I said that! !!!!!
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Joined: Jul 2010
Posts: 166
Full Member
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Full Member
Joined: Jul 2010
Posts: 166 |
One thing I'd be interested in is composer's opinions on other composer's music, especially music that was made after their own death... for example Mozart listening to Tchaikovsky. Oh! That's a good one. I'd be really interested in what Beethoven would think of minimalist and atonal music. Given certain moments of the Grosse Fugue, and given the trio from op.135's scherzo, Beethoven's thoughts on atonality and minimalism might not be what you might expect. -J Actually, I was thinking of exactly those pieces when I said that! !!!!! I think it would interesting to show him some of that music, then ask him if he would compose something in the genre.
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How's heck? pard'me, heaven?
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