Week #7 Tales of the Kreutzer: You Said What About Who?!
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
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
