Again Beethoven the wizard.

[Enrique]

Would you mind reading this?



I do not want to be rude for the "illiterate". I found a beautiful recording by Menuhin, but the time indicator is stopped all the time. And it's the only one I saw that I liked. From this moment down to the tutti, this is the sancta sanctorum of the first movement of Beethoven's violin concerto. It has to be, not that some famous musicologist said it. Has it anytime been described as such? I would like to know. For me, only the star spangled sky can match its magic.

[Peter]

Yes another truly beautiful inspired passage, but Beethoven is full of them! I love it here when the Bassoon enters.

[Enrique]

I too. Yes, while the bassoon plays, the violin executes the most wonderful arpeggios. And when the tutti is close, the trumpets sound there pedal and here the atmosphere is so mysterious. The basses going down one semitone, in the 3rd measure in the quote, is another example of the famous contrary motion.

[Peter]

I too. Yes, while the bassoon plays, the violin executes the most wonderful arpeggios. And when the tutti is close, the trumpets sound there pedal and here the atmosphere is so mysterious. The basses going down one semitone, in the 3rd measure in the quote, is another example of the famous contrary motion.

Indeed - please continue with these wonderful examples Enrique - I think they are very helpful and draw people's attention to things they might not take notice of. Thanks.

[Enrique]

I'll try and thanks for your concepts. My mistake: the contrary motion I spoke of in post #3 can be seen when going from measure 1 to measure 2, the G in double basses going down one diatonic semitone to F#, while the violin goes up one chromatic semitone to the same note. A very simple thing to do, but all is about the moment to do them.

[Enrique]

This has always seemed remarkable to me --I'd rather say impressive. The entrance of the choir is anticipated in the basses, as the score clearly shows:



This is how it sounds (1:20):

[YOUTUBE]http://www.youtube.com/watch?v=0OxuRYTaPys[/YOUTUBE]


Here's another example, which shows the opposite effect. The choir chord in the penultimate measure is delayed one beat. So, it is left uncovered in the last one:



And it sounds like this (10:32):

[YOUTUBE]http://www.youtube.com/watch?v=gaWRUsjSQ5g&feature=endscreen&NR=1[/YOUTUBE]

[Peter]

Yes that delayed beat of the choir is remarkable at the end of the Gloria, so unexpected, so Beethoven! I'm unable to post the scores as you do, but a particularly wonderful moment in the 9th finale for me is the bassoon counter-melody to the first statement of the famous theme in the bass, bar 116.

[Enrique]

The bassoon, yes wonderful, indeed. Like a very fine weave.

[Peter]

The bassoon, yes wonderful, indeed. Like a very fine weave.

Beautiful way of putting it!

[Sorrano]

Yes that delayed beat of the choir is remarkable at the end of the Gloria, so unexpected, so Beethoven! I'm unable to post the scores as you do, but a particularly wonderful moment in the 9th finale for me is the bassoon counter-melody to the first statement of the famous theme in the bass, bar 116.

Interesting, also, is the bassoon counterpoint against the trumpet fanfare in the Consecration of the House Overture.