Skip to comments.FReeper Canteen - Tunes For Our Troops - 22 June 13
Posted on 06/21/2013 6:00:17 PM PDT by AZamericonnie
Hiya Kathy....are you ready to go to the beach?
I can’t believe how warm it is there! *Hugs*
Howdy do, Connie Lou! ((((hugs))))
You KNOW I’m ready! Have bag will travel is my motto! :)
How are you and T-Man Doing? Is it H O T there?
Hiya MY....how’s you & the Pookster? *Hugs*
If you have occasion to attend one of these concerts live, theyre held at the Illsley Ball Nordstrom Recital Hall, which is upstairs at Benaroya Hall at the corner of Third Avenue and Union Street in downtown Seattle. Theres a bus and light rail station (University Street) just under the hall. The secret of the acoustics is to sit either in the very front or the very back. In the middle, the piano sounds clangy, and the balance between instruments is sometimes lost. People would see where I sat and say, Well, if old Pubbies sitting there, thats the place to be. For that reason, veteran ticket holders now reserve their seats all the way in the back.
Now that Jimmy Ehnes is Artistic Director, were getting a lot of music weve never heard, which is a joy for me. I love the old chamber warhorses, but there are a lot of pieces that dont get heard very often that are gems. As we approach each concert, Ill introduce one piece per evening at the Canteen with commentary about the piece. On concert nights, Ill introduce the musicians.
Tonight Ill take you through the opening piece for next Saturday, the third of Beethovens Opus 1 trios for piano, violin and cello. Beethoven had written a lot of pieces in his teens and early Twenties that he didnt publish. He was a good judge of quality, and he waited until he was 25 to publish his first pieces.
The older Haydn was Beethovens teacher, and he loved the first two trios of the set. Haydn had pretty much invented the form, and in his trios the cello tends to double the piano part. Beethoven wrote an independent cello part in the style of Mozart, which is why cellists love playing his1 trios.
But Haydn had reservations about the third trio. It was too brash, too brusque, too abrasive too Beethovenish. It was the sound of the future, Romantic rather than Classical, and it threw quite a scare into old Papa Haydn.
It starts with a sonata movement marked allegro con brio. Mozart had used this direction only once, and Haydn only a few times. Beethoven was to use it a lot. For those of you who survived my Brahms series last year, youll remember sonata format as being 1-2-1-2-development-1-2-coda.
Beethoven starts out with the instruments playing in unison in C minor, his death key. Note that Beethoven doesnt use the kind of long, singing lines that Mozart and Schubert were fond of. He prefers instead to use shorter units of melody; he thinks instrumentally, rather than vocally.
At 1:10 he slides into the second subject, which is in the relative major key, E-flat. (C minor are E-flat Major both have three flats.)
At 2:35 he repeats the exposition.
At 5:07, its development time! He quotes the opening fragment, but takes off into the kind of struggle that defines a Beethoven development. Keys come and go, creating a wonderful kind of instability.
But he settles into C minor again at 6:30 for his recapitulation, but only briefly enough for the cello to take up the theme in C Major, a technique beloved of Mozart. The violin moves the theme to A-flat Major. Its clear that Beethoven is re-composing his recapitulation.
As he cadences in C minor at 7:19, you would expect the second subject in the recap to be in C Major, the corresponding major. (Corresponding minors and majors share the same letter.) But Beethoven pulls off a surprise by placing the second subject in C minor! In effect, in the recap he reverses the role of the major and minor keys.
At 8:15 he begins his coda by reworking his first subject, ending it quickly with no long held notes. Haydn was shocked at the brusqueness.
Pooks a big ol sack of baloney LOL
Howdy! Good to see ya! (((hugs)))
Looks like you’re gonna get to do some wallerin’ of your own when
those concerts start up! Enjoy! :)
You can start wallerin’ this weekend. I’m providing music and analysis both.
That’s great! When I have non-tunes time, I will do just that! :)
And let me know if my analyses make sense.
It has finally started to cool off. Maybe the swarms of mosquitoes will go too. All burn permits have been canceled city-wide. No burn barrels, no burning, period!! And all those planning to BBQ are warned to be really careful.
I just finished what I needed so I can go home. I did not get to one single thing I planned to do today. Phone calls, problems, research, fixes. Thankfully, none were my fault this week either. And the guy I was waiting for to come pick up his replacement check just called and said he was stuck in traffic and he would get his check on Monday.
Woohoo! I’m headed home!
Did your week end on an up note? Get everything done you planned? A safe and sane commute? ((HUGS))
Like I would know! LOL! But I will try.
At 1:15, Variation 1 features an embellished piano line with violin and cello adding their comments.
At 2:25, Variation 2 goes to the violin and cello with the piano providing harmonic backing.
At 3:35, Variation 3 goes to the piano with the violin and cello playing pizzicato in the background. (Pizzicato means plucking the strings, not a small pizza!)
In theme-and-variation movements, it was practically a law that you had to write a variation in the opposite mode. At 4:40, Beethoven switches to E-flat minor for Variation 4 for cello and violin with the piano providing both pulse and harmony.
At 5:57, Variation 5 has the piano playing around the theme while the violin and cello work their own way around it.
At 7:10, he writes a coda that lays the theme to rest gently.
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