Background to Beethoven

[atserriotserri]

I like Gould's Beethoven for all the wrong reasons - because he dares to take such an individual approach and plays Beethoven his way. I think he gets away with it because he was such a great artist blessed with a super human technique. Having said that it doesn't mean I would necessarily recommend his recordings, they are fine as an alternative to the traditional approach providing you are familiar with that approach.

Absolutely right!

[atserriotserri]

Thanks very much for that Frankli - I've just been listening to Gould's 1955 Goldberg variations (in order to help me recover from today's teaching session!). I'm not always keen on his Bach (the dry overuse of staccato is not to my taste, though I respect his sincerity as an artist) - but this was still an amazing experience, his technique is simply astounding. I've yet to get the Murray Perahia set for comparison or indeed Gould's later 1982 version.

Peter, have a taste of the 1982 Gould's version by clicking here
http://video.google.es/videoplay?doc...uration%3Along ... and see the mythical chair that accompanied him playing piano since he was a teenager.

[Peter]

Peter, have a taste of the 1982 Gould's version by clicking here
http://video.google.es/videoplay?doc...uration%3Along ... and see the mythical chair that accompanied him playing piano since he was a teenager.

Thanks for that - I've only listened to around 15 minutes (will try and fit in the rest over the holidays) and you're right I do like it very much. That poor old chair, quite sad to see it all alone now!

[Peter]

Although not a musical influence I think it is of interest to read this self anaylsis by C.G.Neefe as these ideas obviously influenced his illustrious pupil!

CHRISTIAN GOTTLOB NEEFE: A SELF-ANALYSIS

I have a lively imagination, quick emotions, a weak memory, good judgement and feeling for all that is morally and physically good and beautiful; however these feelings are not always consistently warm.

I admire the religion of the heart, love mankind, hate evil, tolerate mistakes of understanding and excuse weakness of heart. I am diligent, sympathize with those who are unfortunate, but am somewhat hardhearted toward the poor, who are such primarily out of laziness.

I respect the fair sex. My heart tends generally toward friendliness, however I am of late less inclined toward easy friendships, because certain so-called friends have betrayed me thus making me somewhat distrustful and reserved. Toward friendship which has withstood the test of time I am loyal, active, open-hearted and sympathetic. I allow every man his personal liberty.

I do not stand on ceremony, etiquette or any forms of flattery. Because of this, I am sometimes regarded (mistakenly) as peculiar or insulting. I have nothing to do with flatterers and gossipmongers.

I love my family and maintain strict discipline and order in my home. I require propriety and order from all with whom I have dealings.

In marriage I am also somewhat reserved. I prefer not to have my my general responsibilities and productivity impeded by family and friends.

I am generally very effective, am never lazy or idle, howver mechanical work is practically fatal for me. I must be in the mood to compose. The work which I am at times forced to do without being in the mood are such that I can hardly recognize them later.

I have a tendency toward solitude and the bucolic life. I am both sad and happy, however the former more than the latter. Both of these moods can change very quickly in me, as is the case with most hypochondriacs. In this frame of mind I often see things in the wrong light. I have also at such times an exaggerated sense of thrift, though otherwise money is relatively unimportant to me.

The weather has an especially stong influence on my sense of well-being. At times I am quite sociable, other-times rather cantankerous. Sometimes I am a bit cranky and bitter in expressing myself.

Social standing and titles are unimportant to me, especially when they fail to enhance their owners effectiveness in the world. Honour is above all for me the driving force behind all my dealings. I am however, at times either too proud or to modest; at times too clever, at times too fearful. In one moment I can undertake the most difficult of tasks, and at another moment I lack the confidence even to compose a small minuet, or write the cobbler a letter.

I gladly acknowledge the achievements of others, whether they are equal to or superior to my own, even those of my enemies.

I applaud high ideals, courageous negotiation, pictures of child-like or parental affection and rewarded honesty. I cannot bear either excessive pedantry or one-sided taste.

I am gladly independent, but without exaggerating my own importance. Concerning things of whose truth I am convinced or believe myself to be convinced of, I will heatedly defend, sometimes extremely so.

I have an excellent memory for good and charitable deeds from which I have benefited. I am glad to return these favors according to my strength and when I find an opportunity to do so.

I am quick to anger and easy to offend when being made fun of, by attacks on my honor, by interference in my affairs, and by professional irresponsibilitiy; on the other hand I am also easily assuaged and easy reconcile differences. I do not easily make the first move when I have been offended, but certainly when I have offended. I am no vengeful and never allow the whole to suffer for the sake of my private offences, especially when it de-pends wholly or partly on my effectiveness. I hade taking sides. My trust in those who have intentionally betrayed me is difficult to restore.

I like to drink wine, at times more than is probably good for my health; on the other hand however, I refrain from drinking when I have business or work to accom-plish. Otherwise, I am well able to limit my needs according to my means. I am not tyrannized by current fashions.

The great men of this world I admire, if they are decent and good; I respect their laws when they promote the best among my fellow men; I take care to keep my distance from them however. I despise bad regents more than bandits.

I strive for the increase of my knowledge and improvement of my heart, although here, of course, I struggle with personal weakness, negligence and passions.

C. G. N.

[Peter]

Beethoven continued studying music throughout his life and after his instruction with Salieri finished he relied on theoretical treatise. Two important publications known to Beethoven were D'Alembert (Marpurg translation 1757) and Kirnberger which were both heavily influenced by Rameau. There was still a minimal influence from the old church modes particularly in Austria. Beethoven would have been aware of these from his studies of Fux with Haydn and he became increasingly interested in them around 1820, seeking out Zarlino's Istitutioni harmoniche (1558) with the intention of making practical use of them. The 'Et Incarnatus' from the Missa Solemnis uses the Dorian mode and the Heiliger Dankgesang uses the Lydian. This last piece actually derives form, melodic and harmonic features from treatise Beethoven possessed on Chorale improvisation by Vogler and Turk.

[Raptured]

http://www.mysharefile.com/v/9006947..._61_3.mp3.html

CPE is great! But the links to mysharefile.com are not working...

Sorry, maybe it´s a stupid question, but what´s "Empfindsamkeit"?

Thanks!

[Peter]

CPE is great! But the links to mysharefile.com are not working...

Sorry, maybe it´s a stupid question, but what´s "Empfindsamkeit"?

Thanks!

From the online encyclopedia:

A German movement influenced by the English cult of sensibility, including Sterne's Sentimental Journey. It lasted from 1740 to 1780 and emphasized a form of emotionalism that was often spiritual in nature, having its roots in Pietism and rejecting what it viewed as the excessive rationalism of the Enlightenment. Unlike ‘Sturm und Drang’, it generally avoided violent expressions of feeling and the irrational. A sometimes lachrymose enthusiasm for nature and friendship was cultivated, as was exploration of one's internal self. Seminal works included Klopstock's Messias and Goethe's Due Leiden des jungen Werthers (Goethe later rejected and satirized Empfindsamkeit's excesses). Claudius, Gellert, Geßner, Gleim, Lessing, and Voß were associated at various times with this movement.