The Scribbled Manuscript: Meg's Beethoven Blog

What I Am Listening To:
Beethoven - Symphony no.6
Dvorak - Slavonic Dances Op. 46 and 72
Brian Eno - Discreet Music
Chris Clark/Vaqueros - Live (x2)
Dust From 1,000 Years - Live (x1)
Bjork - Post
Jamie Lidell - Multiply
Mogwai - Mr. Beast
The Young Republic - Live (x2)

The sixth or Pastorale Symphony is Beethoven's programatic symphony. The fifth and sixth symphonies were written around the same time, however the two contrast highly. When I think of the fifth symphony I think of the quintessential Beethoven: dun dun dun dah! Bam! Its over the entire symphony in one little motive. With the sixth symphony this is not the case, Beethoven paints us a aural scene of the countryside, some have suggested a walk in the country. I can totally agree with the sixth symphony depicting a walk through the country. However, this idea seems to clash with the ideas which Beethoven presents at the beginning of each movement (though it could very well be either, depending on perspective). Maybe it is possible that each of the movements were to be presented as small musical sketches, individual but perfectly working together as a whole.

The first movement of the sixth symphony is entitled "Awakening of happy feelings upon reaching the countryside" and Beethoven depicts this perfectly. the Exposition begins with the string section alone in a contemplative state of F major. It is almost as if we the listener are in a coach heading towards the country side, we are not there yet but we wait in anticipation. This anticipation is depicted through how the beginning repeating phrase speeds up with usage of triplets, and more sixteenth notes. The strings then repeat over and over for thirteen bars another motive until slowly the brass and winds come in one by one, first with the french horns, then flute, clarinet, oboe and so on. The new arrivals repeat the first theme that started with the strings in an imitative form. The strings crescendo to build even more tension of anticipation. Or perhaps the speed of the coach as it heads towards its destination. Also another thought, it could, at this point, actually be the arrival in the country and stepping of the coach and admiring the landscape. In the next section this last depiction makes a little more sense, as the person arrives to the country they admire the scenery which is depicted by the strings, and outbursts of birds and sounds of the forest are in the upper three wind/brass section. Then this voicing of instruments pans out into the second theme. The second theme depicts a landscape as if it our eyes are widening as each measure passes. Pastorale fields, possibly little animals in them, think sheep (thank you), green grass, trees, a slight breeze bright sun and transitional spring/summer warmth (think may). Here the walk begins as our viewer sees more and becomes entranced in the scenery. The transition on the sixth page brings the walking pace in the brass/wind section and the anticipation of new events coming out of nature in the strings. This is then fulfilled by an unexpected event, like a flock of birds flying out of trees, in the second part of the second theme on page seven. This second theme is repeated then there is a meter change in the strings with sweeping (like birds) flight of upper register notes. The entire orchestra then diminishes to piano and stays incredibly quite in the lower registers of the string section (second violins, viola, and cello) until the first violin leaps us up back into the first phrase and into the Development section.

The Development section of the first movement modulates and pivots up from F as represented in the initial first theme but then Beethoven is tricky and creates tension by modulating into B flat. Now the walk begins, possibly in a shaded area under the canopy of the forrest. What lurks in the bushes or around the next tree possibly creates this tension presented by B flat. After some playful repeating of the first phrase now modulated we have the flute carrying on this repetition building up with the rest of the orchestra at measure 169 (pg. 12). This repeating section then modulates again which once again repeats the first theme. This time it is built up to staccato notes in the brass/winds as the strings float beneath. Again we build to a more mellow flowing section where this could possibly be a foreshadowing of the stream in the second movement, possibly this is a glimpse over a grassy or bushy knoll and we see a stream (how exciting). But we quickly turn our head and attention back to possibly more flying birds. The strings are playing in double time now almost resembling flapping wings. We are then brought to yet another repeat of the main theme which has modulated, and then the end of the Development comes, and it seems quick this time, as we have a decrescendo back into the lower register of the orchestra and basically like the Exposition we transition into the Recapitulation.

The Recapitulation is the longest section in this sonata formed movement. We have a recap back to the first movement but later on there is an extensive coda. The beginning of this section builds even more dramatically than the Exposition almost alluding at times to the later Storm and Shepherds Song: Happy and Thankful after the Storm movements (IV and V). There is a section where there is some pure tension like the storm and then all of a sudden it sounds like how the sun would break out from the clouds and cast rays of light all over the forest or land. The same happens in those following movements as briefly snapshotted here in the beginning of the Recapitulation. On page twenty two we here a little joking pokes between the strings and the french horns which are quite amusing as the first theme repeats above it. The build up to the coda is quite elaborate as the coda itself. Beethoven didn't want program music dull, he wanted it compositionally complex and here he shows his might. The coda displays quite a regal sounding repeated, modulated first theme with the horns and the winds outlining some of the most important notes at octave intervals as the strings glide below it with a variation of the main theme. Then they descend to rather deceiving spurts of notes which procrastinate what we think will be the ending to only repeat the main theme in the strings then the flute (alluding to the bird calls in the second movement at the brook) and then a grand final cadence which repeats the last chord twice and then ends.

It must be said that this first movement is pretty static overall. The harmonic progression in the first three movements is pretty slow (see as I blaze past movements II, and III), and we never go out of major. Beethoven saved this for the IVth movement, the STORM where we get intense chromaticism as well as beginning in f minor. And since my group analyzed the IVth and Vth movements I thought I would give a little analysis/opinion (I really wanted to analyze the first movement before we picked movements so I thought I would do that extensively here...) Throughout the fourth movement there are modulations on dominant seventh pivot chords one can hear throughout the piece. I love how Beethoven depicts the storm, it is like one of those summer storms. The humidity builds up to the point where its hard to breathe, then all of a sudden black clouds come over and the sky opens up. It rains and pours and even hails at times. The temperature drops twenty degrees in only a few minuets, but then the rain just stops, it's over! Then everyone comes outdoors and notices the steam and fog rising up, its hazy and the temperature climbs, but there is a sense of relief its over. I think the greatest part of the IV and V movements is the ending of the IV beginning into the V when this scene occurs. There is a transition at the end of the IV that just screams minor to major and it is almost like the kind of imagery you get from the William Tell Overture (The rooster waking everyone up as the sun rises, was that a cereal commercial??? Hrm...), the dark clouds begin to fade away over the horizon and then the sun, slowly cracks little rays through the clouds ah there it is, the full power of the sun shining down on our face. How lovely. Then all of a sudden we head back to the village, there is a sense we are leaving the forest and all of a sudden everyone is dancing, it is glorious! Now, if it was only like that in real life! Until next time...

Current Listening:
All the One Hundred Years Ago Pieces
Beethoven - Kreutzer Sonata, Late String Quartets, First Symphony, Moonlight Sonata
Scriabin - Piano Concerto in f#
Brahms - violin sonata no.1, Variations on a theme of Paganini
Carissimi - Jephte
George Perlman - Elegy and Habanera (piece I am playing at the moment), Ghetto Sketches
Max Richter - The Blue Notebooks
Animal Collective - Feels, Sung Tongs, Here Comes the Indian
The Books - Lost and Safe, The Lemon of Pink, Thought for Food
Psapp - Tiger My Friend
Lali Puna - Faking the Books
Prefuse 73 - Prefuse 73 Reads the Books ep
Hooverphonic - Blue Wonder Power Milk
Elbow - Asleep in the Back, Cast of Thousands
Radiohead - Selections from Kid A/Amnesiac Sessions
Christopher O'Riley - Hold Me To This
The Velvet Underground - The Velvet Underground & Nico
My Bloody Valentine - Loveless
All Saints Records Artists (Brian and Roger Eno, etc.) - Compounds + Elements
okay a little long this time... It's from the last 2 weeks...

This week was, well, an interesting week in my relationship with Beethoven. In preparation for the concert to see Joshua Bell I was listening to the Kreutzer Sonata a lot. I mean so much that I really couldn't tell you how many times I did listen to the piece. Monday we looked at the piece breaking it down again. I went into this week worried a little about my analyzation skills. Phrases and transitions were blending together something was not clicking. After further discussion things started making sense. My reluctancy to analyzation (and speaking up about it in class itself) comes out of well, fear. HA! Like the piece is going to come up behind me and eat me or something! No, more or less its coping with learning how to analyze thats all (as well as being human about the process).So in response to this I decided to dig into the piece myself and totally rip it apart. Here's the first movement:

In the very beginning we have the violin arriving with a dramatic A minor tonic chord. In this first introduction to the violin Beethoven plays with major and minor. At the very end of this first motif opening he descends into minor seconds introducing the minor that will be heard throughout the piano part. The piano begins with the same A chord as the violin but continues into minor. This contrast between major and minor sets up the major interplay within the piece. When I was reading Jeremy Denk's blog he called this contrast the difference between light and dark. The violin taking the light in major and the piano contrasting with the dark in minor. After the piano announces its first somber motif the violin comes into interplay with the piano, back and forth they go speaking to each other as if in conversation. Then they come together to crescendo into a sfortzando only to return to piano. Again we have a small conversation in between the piano and the violin. The piano then follows the violin into ascending small sweeps. Here the violin announces that it will be the dominating part throughout the piece. This introduction then goes full force into the Presto Exposition.

The exposition begins in a minor on a iv chord. The violin takes the leading role in the first theme with the staccato motif. The first violin theme lasts for 10 bars (including the pick up) and ends on on the dominant. Then the piano repeats the theme and the violin comes in three measures in to repeat its first theme motive. After this the piano has a dramatic arpeggiated ascending and descending sweep. This leads into the transition section which builds up to the second theme. The transition is very exciting contrasting with whole notes and a frantic piano line. The transition then changes turning into a call and response between the violin and piano even though the piano is playing the entire time. The transition takes us into the second theme immediately. When I first looked at the piece i was drawn to the transitional part believing that it was the second theme, however the second theme comes along and contrasts with the first established section with whole notes presented in the violin. This contrast between the first theme and the second is created by note values. More transitions follow the second theme with variation and elaboration on the first theme. In the middle of this last section of the Exposition there is a duel between the piano and the violin. The piano takes the lead then the violin fires back with pizzicato chords which creates even more contrast with the original theme. More transitional material leads up to the end of the exposition.

The Development begins in F on the tonic major minor I7 chord. There seems to be three variations within the development. Each variation is introduced by a few bars of solo piano or piano with violin accents. The first variation is in F, repeats the first theme in this new key and then consistently modulates; ascends and descends scale-wise throughout the variation. The second variation basically just all of a sudden drops in from the incredible brillance of the first variation. Now, we change keys to Dflat minor. We now hear the most contrast (so far) away from A major. The variation begins with the repeat of the first theme then elaboration upon it with virtuosic high notes (by the middle section) from the violin and conversational responses from the piano. On page 9 at the end of the third system we come back to a normal tempo on an A major chord returning to the main key only to modulate into G minor at the beginning of the fifth system on page 9. This is where variation three begins with the main theme in the wrong key: Gminor. Going on to the next page (10) at the end of the first system Beethoven modulates into Dminor, once again in the wrong key but repeating the main theme. It isn't til the end of the third system that we finally return A minor again but this time we are knee deep into the transitional material. (To be continued STILL!)

In response to the Joshua Bell concert, and the meaning to the title of this post, I found it to be a very interesting yet surreal experience. I cannot leave out one of the best parts of the night, dinner. I would have to say our dish picks this time around were excellent, both Drunken Noodles were fabulous, two of my new favorites are the Garlic and Ginger Chicken. I would have to say the Ginger Chicken stole the dinner for me, just wonderful. Okay, now that is done with the concert itself. The group had a nice, long, brisk walk back to Merrill auditorium just in time for the show. Joshua Bell came out on stage with his pianist Jeremy Denk. The two started out with the Mozart. The interaction between the two was amazing. They played off of each other with incredible energy. It was a great piece to begin with getting our ears ready for the Kreutzer, and the contemporary pieces which followed. Then with much anticipation they bursted into the Kreutzer. And for some reason at this point of time I became a bit upset. After listening the Kreutzer so many times the performance did not differ that much from the CD. There were a few distinct differences but overall Bell is a master of playing, and it showed. I think what got me was his technical skill and the way he shapes the phrase was so perfect I was in a sort of disbelief. I kept on asking myself: is this real? There should be some sort of difference! But of course not this is one of the best violin players in the entire world! i kept on waiting for something to happen for some sort of mistake or something to snap me out of this state of disbelief, but nothing came. Seriously I don't understand why I felt this way but his performance was perfect. One thing that did bother me was Dent's repetitive foot 'banging'. I understand you get into a performance, we all do it but to slap your foot down that hard so many times. Usually I would love this, but it took away from the Sonata. Storm and Stress and BANG!

In contrast to the grand masters at the beginning we had Bartok, Prokofiev, and Ysaye. The Bartok was incredible and one of the finest moments of the concerts. The entire time I kept on saying to myself, good choice. Thinking of what kind of audience that classical music caters to these days: the older society. Bartok's piece bridges the gap, at one moment presenting comfortable folk tunes but then launching us into areas of chromaticism, possible atonality (can't remember it well) and since we go back and forth over and over the audience can somewhat be comfortable with this piece. Playing something like out there and atonal would make people want to leave, why do that! This was the perfect refresher after the intense Kreutzer. But then we are presented with the Prokofiev's Five Melodies, all of which were lulling at times. The end harmonics were incredible. I am now really interested in this piece. To end off the show Bell moved his music stand behind the piano to dive into the Ysaye. The Ysaye was Bell's shining moment. The notes that emitted from that 1713 Stradivarius were pristine and incredible. For an Encore they played a piece by Tchaikovsky, which was mellow compared to the previous pieces. The crowd reacted differently when Bell announced the piece. A few older ladies in front of me gasped with approval. In the end, the concert was incredible. To see such brilliance and virtuosity was jaw dropping. Seriously, amazing I can't believe the violin can be played like that.

After the concert in the van going home, well I was really in a different state of mind. For some reason I blurted out "Why do Mozart and Beethoven sound so old?" Yes, there goes my career, I want to be a musicologist?!!?!?? YES I do so thats why I pose these questions. After evaluating this more I believe it is a valid question. Mozart and Beethoven are old compared to a lot of what I am listening to now, 20th century music, and electronic music. Maybe thats why I said it There is something absolutely wonderful about the nuances of both composers. Playing Mozart's Piano Concerto No. 23 in Orchestra at times rips my heart right out of my chest. But some of Mozart and his dainty little phrases tick me off too. Beethoven I would have to say has been drawn out by the media and society and exploited by repetition of playing it so many times. So maybe my case is a little personal, a little harsh, but it's just a thought. Mozart and Beethoven are never going to go away, they are the greats. We value them for their technical virtuosity, their deliberate attempts of wit and imagery through music. They are the masters, but to curb this 21st century perspective is hard. I value them both and love their music, even if modern society has made them into museum pieces.

One last note: Dent gives some great insight into the Kreutzer on his blog: http://jeremydenk.blogspot.com/2006/02/i-have-question.html