Hello,
The first of the middle late string quartets, Opus 132 has got a way fascinating structure...
The 3rd mvt. fluctuates between the melody for "A Convalescent's Holy Song of Thanksgiving" and the melody for "Feeling Renewed Strength." So you have an ABABA format. There's the first Five. Then you have the fact that this is the first string quartet to have Five mvts. There's the second Five. Next you consider this quartet is part of five Late Quartets. There's your third Five. 5 within 5 within 5? Maybe another 5 I'm missing?
I don't want to sound like the number-obsessed character, Max Cohen in the movie, "Pi" but you have to admit this is pretty unusual stuff. Purely coincidental? Maybe. Or maybe it's part of even larger plan that B. mapped out but which we can't see? What do you think?
BTW, the way he smoothly bridged the 4th mvt. to the 5th mvt. reminds me a little of the seamless scherzo-to-finale transistion in the 5th symphony. Wait a minute! Is that the fourth Five?!
Wouldn't this stuff make a great movie?
What I love about the late quartets is that it affords mere mortals like us to glimpse the inner mind of the Master, his emotional/spiritual state. It's just that because they come from this transcedental place, they're not easily deciphered or understood. But I suppose that's what makes them so fascinating and timeless, yes?
[This message has been edited by euphony131 (edited 06-18-2001).]
The first of the middle late string quartets, Opus 132 has got a way fascinating structure...
The 3rd mvt. fluctuates between the melody for "A Convalescent's Holy Song of Thanksgiving" and the melody for "Feeling Renewed Strength." So you have an ABABA format. There's the first Five. Then you have the fact that this is the first string quartet to have Five mvts. There's the second Five. Next you consider this quartet is part of five Late Quartets. There's your third Five. 5 within 5 within 5? Maybe another 5 I'm missing?
I don't want to sound like the number-obsessed character, Max Cohen in the movie, "Pi" but you have to admit this is pretty unusual stuff. Purely coincidental? Maybe. Or maybe it's part of even larger plan that B. mapped out but which we can't see? What do you think?
BTW, the way he smoothly bridged the 4th mvt. to the 5th mvt. reminds me a little of the seamless scherzo-to-finale transistion in the 5th symphony. Wait a minute! Is that the fourth Five?!
Wouldn't this stuff make a great movie?
What I love about the late quartets is that it affords mere mortals like us to glimpse the inner mind of the Master, his emotional/spiritual state. It's just that because they come from this transcedental place, they're not easily deciphered or understood. But I suppose that's what makes them so fascinating and timeless, yes?
[This message has been edited by euphony131 (edited 06-18-2001).]
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