Articles tagged 'Beethoven'

Late-Night Musings on a Late Sonata

Inside Beethoven’s sonata one manages a multifaceted, far-ranging and profound beauty of sound, emotion and idea.

Late-Night Musings on a Late Sonata

Inside Beethoven’s sonata one manages a multifaceted, far-ranging and profound beauty of sound, emotion and idea.

No Longer and Not Yet

Some of us have hobbyhorses; French serialist Jean Barraqué (1928-1973) is one of mine.

No Longer and Not Yet

Some of us have hobbyhorses; French serialist Jean Barraqué (1928-1973) is one of mine.

The Best Kind of Attitude: TACET

…as a music lover and audiophile (in close to equal measure), I’m here to shout “Eureka!”

The Best Kind of Attitude: TACET

…as a music lover and audiophile (in close to equal measure), I’m here to shout “Eureka!”

Heavy Rotation in 2003: Czernowin, Formenti, Guerrero, Harada, Harrison, Serkin, Pollini

Possibly, a more truthful title: “Best of 2003 Based on an Arbitrary and Random Selection Assembled by Someone with Predictable Tastes.”

Heavy Rotation in 2003: Czernowin, Formenti, Guerrero, Harada, Harrison, Serkin, Pollini

Possibly, a more truthful title: “Best of 2003 Based on an Arbitrary and Random Selection Assembled by Someone with Predictable Tastes.”

Four Symphonies: Reduced, Amplified, Completed and Unnecessary

One needs but a moment to get used to the intimate café texture whose Viennese litheness underscores the exquisite Schubertian opening dip.

Four Symphonies: Reduced, Amplified, Completed and Unnecessary

One needs but a moment to get used to the intimate café texture whose Viennese litheness underscores the exquisite Schubertian opening dip.

Beethoven’s Choral Fantasy and I

In December of 1808, Beethoven led an amateur group in the premiere of his Choral Fantasy for piano, chorus, and orchestra, Op. 80. They say he improvised the Introduction in performance and only later wrote it down.

Beethoven’s Choral Fantasy and I

In December of 1808, Beethoven led an amateur group in the premiere of his Choral Fantasy for piano, chorus, and orchestra, Op. 80. They say he improvised the Introduction in performance and only later wrote it down.

A Look at Beethoven’s 32 Variations in C Minor (Part II)

Sweetness gives way to untamed power. Harmony, not melody, is the focus, presented in driving scales.

A Look at Beethoven’s 32 Variations in C Minor (Part II)

Sweetness gives way to untamed power. Harmony, not melody, is the focus, presented in driving scales.

An Eclectic Piano Ramble

This handful of discs features the piano in all sorts of forms and genres. We examine works intended to be played at the keyboard and inside the piano, others that alter the piano’s tuning, and those that require a synthesized instrument.

An Eclectic Piano Ramble

This handful of discs features the piano in all sorts of forms and genres. We examine works intended to be played at the keyboard and inside the piano, others that alter the piano’s tuning, and those that require a synthesized instrument.

A Look at Beethoven’s 32 Variations in C Minor (Part I)

The eight-measure theme is in 3/4 time, strong in meter, in spine, in sound — chords and melody walk chromatically away from C minor, reach a climactic sforzando on IV (F minor), then quickly run home again.

A Look at Beethoven’s 32 Variations in C Minor (Part I)

The eight-measure theme is in 3/4 time, strong in meter, in spine, in sound — chords and melody walk chromatically away from C minor, reach a climactic sforzando on IV (F minor), then quickly run home again.

Walt’s Ratatouille 5.

The opening cut, Bley’s solo rendition of “Touching,” distills the pianist’s art — pedaling that turns notes into sculpture, leaping figures suddenly dropped, looming spaces.

Walt’s Ratatouille 5.

The opening cut, Bley’s solo rendition of “Touching,” distills the pianist’s art — pedaling that turns notes into sculpture, leaping figures suddenly dropped, looming spaces.