The Scribbled Manuscript: Meg's Beethoven Blog

Well a week late and more than a few bucks short but here I am once again, and this time I am tackling the piece o' the (last) week which was The Op. 95 String Quartet. Motives scream 'hello we are all interrelated in some way!' throughout each of the movements. It seems as if within the first page of the score Beethoven has addressed all the unique traits of the entire Quartet. The first motive and second motives (pg.1, 1st: m.1,2 & 2nd: m.3-5) set the quartet up for the following motives in mms. 2-4. The first movement starts us off with the framing motive in the first and second measures. This motive is very important not only for its paradoxical qualities of major or minor within the same phrase but also its fast scalewise movement. The first motive is followed by rests, which features a dynamic contrast of silence compared to the outburst in the previous measure. Silence will prove to be a very important trait throughout the work. In measure 3 the first theme begins with the second motive featuring octave leaps. Once again we see another trait that will be important in later movements. Within the first two systems Beethoven has laid everything out on the table, there it is. Of course this isn't everything, but these are the important reoccurring nuances we will se throughout the piece.

In the fourth system of the first page we have a repeat back to the original first motive throughout all parts being highlighted by sfortzandos as we go from forte to fortissimo in two measures in that last system. At the top of page two in the first system the second theme appears. When first trying to find it in class I thought for sure the second theme began in the last measure of the first page, however this was just transitional material leading us into the second theme in the 3rd measure of system 1 on page 2. The second theme uses octave leaps in a few places beginning with the violin in the 3rd measure of the 1st system. Seen again in the viola in the 2nd measure of the 2nd system. There are 6th leaps in the 2nd violin on the 3rd measure of system 1 as well. In the 3rd measure of the 3rd system on page 2 there is a reminder of the importance of the scale as the 1st and 2nd violin go into a scale wise two octave chromatic duo that spans from A major to D major. Beethoven obviously showing some contrasting qualities here. The last system on page 2 (m. 4) features the beginning of a transitional closing theme, of the exposition, which follows on into the first 3 systems of the 3rd page. In the 2nd measure of the 4th system of page 3 we Beethoven pushes us into the Development section.

With a loud tutti chord in F major we begin the development. In the 1st measure of the Development (system 4, measure 2). The Development is a very short section, covering a little less than 6 systems. In the 1st measure of the Development the cello takes the 1st motive from the Exposition then repeats it in the last system two bars in again. This happens in-between virtuosic ascending leaps in the 1st violin. In the 1st system on the 4th page the 1st violin takes the part of leaping octaves as seen originally in the 1st theme/2nd motive of the Exposition (pg 1, m. 3-5). These octave occur throughout the 1st violin until the end of the Development in the 4th system of page 4. Under the dramatic 1st violin part the 2nd violin, viola, and cello alternate with a 16th note pattern, sometimes contrasting with whole notes as in the 2nd system of page 4.

The Recapitulation begins in measure 3 of system 4 on page 4. Beethoven repeats the first important motive of the piece, this time in every part (in this 1st measure of the recap), only varying in different notes. The recap repeats the first and second themes as well a variation on them. The section is quick and varies a little at the bottom of the 6th page in system 4. The outer lines take a 8th note pattern as the inner two voices take their own pattern of longer notes. The variation changes at the last two measures of the last system on 6. There is a repeat of the first motive in the second system on page 7 and then it is over, movement 1 done.

Movement 2 begins with a descending scalewise motive in the cello. This is reminiscent in the descending scalewise and upturn pattern in motive 1 from movement 1. This second movement is characterized as being highly chromatic as well as hardly using silence at all. The movement seems to be slowly rotating and spinning as if it was a wheel and the motion is given by the sometimes scalewise movements. The end of the movement foreshadows some of the quickness in movement 3 this is found in the third system of page 11. The very end of the movement is a segway: attacca subito which just falls into the third movement. Movement 3 returns back to Beethoven's interplay with silence and quickness. The first motive once again goes back to the first motive of the piece in the first movement, however this time it represents itself as a retrograde of the first motive. This new motive in movement is just the part of the first motive backwards. In that first system of the third movement (last system on page 11) there are two patterns which can be seen throughout the movement. The first is in the 5th and 6th bars of the last system, the second is the the 7th bar. These various little rhythmical motives are heard throughout the movement. Overall the movement is very contrapuntal and in the B part on page 13 we have a quasi-choral going on. The 4th and last movement begins with a slow chromatic introduction which lasts for one system and one measure more on page 17. The first motive in the first system of pg.17 bars 1-3 can be related back to the second motive/first theme in the 1st movement. I thought for sure this last movement was in an altered sonata form, however it is in a ¡Rondo! form. (Ingenious that it is the Pie... MAWHAHA!) The first theme (quite flowing and melodious) of this Rondo repeats throughout many times, again we see alot of scalewise movement all over. On page 21 in the allegro part we come back to major and enter a very scalewise section highlighted by 8th notes in all parts. The piece ends flying through scales as the 1st violin takes off into the upper register.

Beethoven really announces his classical rock-stardom in his string quartets, and Op. 95 is no exception.

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

As I listen and study Beethoven more and more his impact is becoming even more substantial than I once previously thought. Of course he is one of the greats, one of the masters, but to dig into a score and listen makes this fact apparent even more. Where am I in the state of this course (in this instance where am I in the state of everything!)? I feel a little lost at the moment and I guess this post will be a culmination of topics. First off I would like to begin talking about my individual project. I am going to look at the Op.135 String Quartet. After listening to many of the later string quartets this one stuck out. It is incredibly interesting and I have no doubt Beethoven's physical (deafness) and mental states had an effect on the piece. I will look at the entire piece as a whole as I have been told. At first I wanted to analyze the first and second movements, but found out that the String Quartets movements are overlapping and can be considered as four pieces of a whole. Beethoven uses so many significant compositional devices through the first and second movements alone that it attracted me to this work instantly.

Reflecting back on the First Symphony I must say it really opened my eyes. Score after score, piece after piece I find myself shuffling though composers and their various intents messages, compositional tidbits that make a piece interesting. The first movement (the one I looked at in our group and the most throughout the class so far) has a deceptive beginning, nonetheless leading into these interesting themes ... (Yeah where was I going with this!!!!!)

One of the most amazing experiences I have had so far in this class is my experience with the Kreutzer Sonata. The first few times I listened to the piece I found myself having a hard time listening to it. It wasn't the fact that I did or did not like it, it was more our less wrapping my head around the piece. Maybe it was the environment I was in or whatever was effecting my sound scape at the time but I had a really hard time listening to it, for whatever reason I do not know. I listened to it oh 5 or 6 times at first on my own and such and it never set an impression on me musically. Yes it is technical and virtuosic but thats all I heard. Then in class with the score in front of me I finally broke through.

The first movement to Beethoven's First Symphony begins deceptively. The movement naturally would, Beethoven had a sense of humor and he wasn't afraid to use it. The introduction of this movement is less of a Beethovian style but more in the style of his predecessors Haydn or Mozart. The symphony is in C major, however Beethoven skirts around this key beginning with a deceptive cadence, then in the fourth measure at the subject going into G. Beethoven now has a small section of conversation between the strings and the brass/percussion. One chord is sounded in one section it is responded by another in the other section tiptoeing to the end of the introduction. Beethoven then returns to the tonic chord for a few more bars before going back into G and ascending and descending scalewise. This quick up and down sweep literally drops the listener back into C and into the first theme.

In the Exposition we see the first pull by Beethoven, his personality shows through perfectly though his music either through storm and stress, usage of a lot of sfortzandos, or the harmonic melodic or rhythmic nuances that pull the listener throughout the work capturing their interest. Here we can hear a rhythmic and melodic pull. The first theme is introduced, and the tempo speeds up from Adagio molto in the introduction to Allegro con brio in the Exposition. The first theme begins with some tension, a mini introduction to the tutti theme within the exposition from bars 13 to 30. At bar 30 all parts now play. From bars 30 to 40 is another section where Beethoven tiptoes around the theme creating tension for the release at measure 41 there the majority of the strings go on an upward chromatic, scalewise sweep. More or less the parts sound like a horse race to the finish at measure 53 where the second theme arrives. This theme is lighter as the strings ascend and descend as the flute almost sounds like birds shrilling on top of it. The man focus is then passed to the strings who carry this second period. This quickly changes as Beethoven's storm arrives over this sunny landscape. A rhythmic assult of sixteenth notes and subdivided bowings in the strings contrasts this second theme. Contrasting once again at measure 77 the strings go into rhythmic slower bowings that mellow out the sound overall in G. This section is short lived and then re return to the concluding theme and the exposition repeats.

The Development beings with short outbursts of a full tutti chord then a quick part in the strings then the majority of the orchestra comes in with another outburst. This type of phrasing repeats as the parts ascend. Variations on the main theme of the exposition take place, each of these variations progress stepwise through the scales and opening up more chromaticism. The Development is a short section which like the introduction literally descends and falls into the Recapitulation and the re-introduction to the main theme. The main theme is brief. Then there is the introduction to a back and forth of call and response like section in the strings. This goes into a wave-like pattern of ascending and descending scales. This quick tempo section is followed by the subordinate theme and is almost a replica of the Exposition which follows in the concluding theme until the Coda. The Coda is very chromatic that builds to the loud four chord exclamation ending.

(to be continued into the third movement...)

Playlist:
Pretty much everything from the last list...
Ives, Janacek, and Scriabin basically on repeat while writing/analyzing!
Sigur Ros - Takk, ( ), Agaetis Byrjun
Beethoven - Piano Sonata No.1
Orchestra Pieces etc...

On Monday we were joined by Jonathan Cohen, distinguished professor of philosophy, to talk about the connection between Beethoven and the philosophy of the time and its effect on the composer. One of the first statements Cohen made was that Beethoven possibly misunderstood philosophy. Beethoven was a student of philosophy, he studied it when he went to Bonn university. There is a certain mystique about Beethoven, a great mind with revolutionary ideas, and music. But as I read more about his life, about his emotions, troubles, general living situation I feel as if Beethoven is becoming more humanized to my perspective. Society always throws some sort of greatness onto celebrities or people who stand out of the crowd. Who couldn't over exaggerate the writer of the great nine symphonies. Much like any composer or person, the more one gains knowledge of them the more real they become.

Cohen began with the major Enlightenment thinkers to set the stage and the later connections. Hegel came first with the idea he stole from Schelling of Thesis, Antithesis, Synthesis. With the thesis an idea is presented or thought or whatever. Then at one point we will go against this thought to have the antithesis. I will get to the musical connection in a second but first I would like to talk a little about the idea of This Here Now. All three are different and were thought to be very specific, through Hegel they became abstract. This Here Now is basically being in the moment completely where specificity becomes abstraction and vise versa. This is basically what the synthesis is. It hit me in class that basically this process can be placed on anything, situations, ideas, anything! It seems like it fits the idea of learning to a T. In my perspective when one learns something they agree with its idea, but then as the brain processes it the idea progresses to the point of disagreement. After some time and full understanding is gained will the person reach the synthesis where both sides are fully understood. Perspective can still be made, but to understand both sides of anything at the same time is true understanding.

And now for the connection! Thesis, Antithesis, Synthesis is to Exposition, Development, Recapitulation. At first I wanted to believe this idea as much as possible it seems like the Hegelian Dialect fits the Sonata form perfectly, or does it! Exposition is the thesis the presentation of the main themes to set the rest of the work. Development tends to stray from its counterpart of Antithesis. The Antithesis is the opposite of the thesis something that is diametrically opposed. I do not feel as if the Development is opposed to the Exposition, it has more or less changed, but has changed with connection. The degree of change matters in the key signatures used in the Development. Yes, there has to be modulation, there has to be change in the development, there just can't be two Expositions! However, through modulation we have scale degrees that connect to the new key. Depending on the two keys the relationship can be close or far. Even though there is change in the new key both keys are connected but the scale degrees they both share. Where is the opposition in that!? The Synthesis does work with Recapitulation but it still doesn't embody the true meaning of both ideas. The Recapitulation would have to have a balance of the Exposition and the Development. So, then I pose the question how does this correlation work? For all intents and purposes it does fit the form in ways but strays after the Exposition. Very interesting connection, especially for the time period, but I question it.

Next, we had Kant and his disagreement with Hume. Kant said that Causation is built like a sandwich in-between Apriori and Aposterior. To Hume it was cause the effect and the after effect, to Kant it was the cause effect and after effect are all one process together as one. After this point there was the debate of Freedom vs. Determinism and how causation leaves no room for freedom. I got confused here, I guess with two structured events such as the cause then the effect and the after effect it is so structured that there can't be any freedom involved it is just those events. Having all those processes as one unified process leaves more room for freedom of other things to happen. With that thought I think of the symphonies and how each of them are one one unified concept with many entities within them.

Last class on Wednesday we looked at Beethoven's Piano Sonata No. 1. Here Beethoven is in a way Kant-ian by using motifs instead of full themes, transitory themes instead of just a normal theme. In the first movement it is incredible how he skirts normal form. The first theme uses more motifs than true melodies. It dances upwards and doesn't hold a full melody but rather uses foreshorten phrases the entire way through. The second theme is a transitional theme that is chromatic. The second theme is something that would be found in the development, but no Beethoven uses it in the Exposition to create drama and tension at the same time. In this first movement alone some 40 sforzandos are used along with accents off the beat to create a sense of aggression throughout the whole piece which makes the rhythm the main focus. The second movement finally has a melody. It is a pretty little movement that could be something Mozart wrote contrasting highly from the previous movement. The third movement is a Minuet but it is a somber one in minor and in ABA. At the very end we get something happy to pick us up again in the Trio back to major. The fourth movement is probably the centerpiece here. Here we have the first Sturm und Drang movement from the master of Storm and Stress. Beethoven uses an odd variation of the sonata form with themes that really have nothing to do with the main theme. Beethoven also uses repetition to the point where it becomes irritating and then changes. Beethoven the first minimalist... HA! Far from but we can always joke. When the piece is broken down like we did it in class or when you do it on your own while listening it is absolutely amazing how all the the puzzle pieces come together. I keep on thinking of Hegelian Dialect and the comparison to the Sonata (though still questioning that one) or even to Beethoven himself and how in the end specificity is just abstraction and the reverse. Very interesting...

Playlist:
Mozart - Piano Concert No. 23 & 21, Requiem
Ives - Three Page Sonata
Janacek - From the Streets, On the Overgrown Path
Scriabin - Fifth Sonata & Piano Concerto in f#
Glass - Einstein on the Beach
Reich - You Are (variations), Cello Counterpoint
Imogen Heap - Speak for Yourself
Animal Collective - Feels, Sung Tongs
Psapp - Tiger, My Friend (Incredibly impressed with this!)
Prefuse 73 - Prefuse 73 Reads the Books
Deerhoof - Runners Four, Green Cosmos
Bright Eyes - Lifted
Sigur Ros - Takk
Royksopp - Melody A.M
Killowatts & Vanek - Rawq

The scores were passed out. Ah, Mozart's Piano Concerto No. 23, I recollect that my friend told me they were going to be playing this same piece in Orchestra this semester. The play button was hit, and at that same moment I was taken back in time to my youth. I first heard this piece as well as Mozart's 21st piano concerto usually every weekend as my mom knit, spun, cleaned antiques, or did chores around the house. It occurred to me that this along with some Vivaldi, Handel, and Beethoven were literally some of the first music I truly ever remember. My musical DNA in imprinted with these incredible composers; like many people my age in Western Society all of our musical DNA is imprinted with classical greats transmitted to us by many different outlets and learned by association over time. The average person's exposure to classical music by their twenties ranges dramatically due to your upbringing, if you payed attention in your elementary music classes, or just watched TV or movies. It is amazing how so many people my age can associate with classical music but cannot put a composer or name to a song. I am just as guilty in some cases as anyone else in this particular musical 'crime' (I mean this in the loosest and comical of terms). The exposure to classical music through movies, tv, commercials, other instances is great and leaves the listener with and idea of the piece, for example the "I know that, but what is it" syndrome is the response most of the time. As time has passed exposure to music leaves the general public with a demand to hear these pieces. When maturity and appreciation occur classical music is more tangible to its once questioning audience.

Sitting down and staring at the score to the Piano Concerto is probably like staring at David or the Mona Lisa, complex to the point of simplicity. I have been practicing the second violin part for the Piano Concerto and every time I play I hear and see absolute perfection of melody. Mozart was a melodic monster, he was obsessed with the perfect melody. Each phrase fits perfectly in its place, if it was changed just by one or two notes the piece would become slightly off balance. As I play and then listen to the piece many times I begin to hear complexity in the melody which is then followed by the realization of simplicity. An ascending or descending scale here, arpeggiation there, staccato, energy, emotion, use of modulation to draw one in and then away, imitation between piano and strings. Instantly within twenty seconds of listening all of these traits seem to arrive out of phrases so perfect, it could only be done by the Wunderkind himself.

The first movement is featured in Sonata form of Exposition Development and Recapitulation. The first theme is timeless and evokes images of springtime, vibrancy of color and life. The interaction between the strings and the winds are an imitative, call and response. The second theme takes the same form of call and response as well. The piano imitates the strings and intertwines briefly with them throughout the piano section. Brief periods of tension arrives late in the exposition which is a transitional point into the development. Throughout the development the strings and piano interact but the piano dominates ascending and descending modulating, creating tension, the strings respond and then to arrive back at the familiarity of the main themes in the recapitulation. Though we did not listen to the second movement in class, I must note that it is one of the most somber pieces I have heard from Mozart and has traits that would be appropriate in the Requiem. Mozart develops a theme that pulls the heart strings and draws the listener into the almost spiraling piano part at times.

to be continued...