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Posted on 08/21/2015 6:11:00 PM PDT by Kathy in Alaska
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Wouldn’t surprise me.....I’ll be reading it later.
No idea how this will shake out, but I LOVE what he has done to the GOPe. He exposes/calls them out at every turn. Love their panic. I can’t wait til all of them are gone!
Hi Kathy!
HUGS
Beethoven was finishing up the New Path that led to his Heroic Decade. He was wondering what to do next and what newer path he might take. For now, he was concentrating on his last piano sonatas, which would define the beginning of what is now known as Late Period Beethoven.
When celebrated French violin virtuoso Pierre Rode arrived in Vienna, Beethoven wrote what would turn out to be his last violin sonata. The piano part was intended for his student, the Archduke Rudolph, and the Archduke and Rode played it in a concert at Prince Lobkowitz’s palace in the waning days of 1812.
This was to be an influential piece for Brahms among others. One hears the attributes of his late period: the subtlety of effect, the ability to pivot suddenly from one idea to another, the long harmonic suspensions, the melodic beauty, the deep thematic integration of a few motifs, and the childlike simplicity that he makes touching and unforgettable.
It starts in 3/4, “allegro moderato,” with a violin line that sounds like a birdcall. The entire sense is pastoral, which borders on religious for Beethoven. He uses a transitional passage in B-flat to get to D Major for the second subject. The exposition repeats. Development is basd on the little half-tone drop that comes at the end of the exposition, and it’s mostly in minor keys. The recap comes with an abrupt move to E-flat, which uses G minor to get to G Major for the second subject. But that subject dips into E-flat again before resolving in G. Again those little half-tone drops to get to the coda. The birdcalls appear in the piano’s left hand before settling into the end with a flourish.
The second movement in is E-flat, foreshadowed in the previous movement, 2/4 time and “adagio espressivo.” It’s like a hymn, but after all this calmness, Lou leads into...
A scherzo in G minor, 3/4, marked “allegro.” It’s rough and tumble with offbeat accents. The “trio” middle section is in E-flat and has the feel of a German folk dance. The first section returns for a quick dip into G Major for the coda, which sets up the finale.
The fourth movement is in 2/4 and marked “poco allegretto.” It’s a theme-and-variations movement with theme that sounds like it came from a comic opera. The variations flow into each other in such a way that’s difficult to tell where the boundaries are unless you’re looking at the score. It’s best to just let it flow without comment.
This video is of violinist Anne-Sophie Mutter and pianist Lambert Orkis.
Tomorrow night it’s the first song cycle ever written.
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Thanks for your hard work! GodBlessUSA; mylife; AZAmericonnie; Kathy In Alaska; Ms.Behavin;trussell; ConorMacNessa;acad1228; LibertyValance; publius; spel_grammer_an_punct_polise; Drumbo (and me) YOU ROCK OUT LOUD!! God bless our troops!!! |
Listening now! :-)
I like it already.
Dudess! ;-)
Nam Vet Radio:
Vietnam Vet Radio is an internet only radio station incorporated as a non-profit veterans organization dedicated to the men and women who served in the Vietnam War, their families, and friends. With a few exceptions all the songs played are from the Vietnam War era. We also play the authentic jingles and public service announcements that were played on AFVN (American Forces Vietnam Network) Radio.
Dude!
Good to see you! :)
Yeah....when it’s ALL good! :)
This is a great water music wallerin’ tune. Finding videos of Schubert songs with English subtitles is difficult, but you don’t have to know the words when the piano takes the tune. This is one of Franz Lizst’s best transcriptions. It’s in seven flats, by the way.
Good evening, Ms Feather...*hugs*
Just woke up from a nap at my computer. LOL! It’s been a long week.
How’s your weather? Good for the porch?
”The Trout” is one of Schubert’s best known songs, and this is a good way to get around the English subtitle problem. Frannie wrote this theme-and-variations movement on “The Trout” as the fourth movement of a five-movement quintet for piano and strings.
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