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Month: March, 2019

___________
after John passed away, I read, at a
gathering we had for him, something
that I’d written in his honour, it began,
adagios always remind me of John,
John was a dancer, he walked like
one
a few days later, immersed as I
was in memories of him while
mechanically washing some
dishes, I heard, from a symphony
I’d put on in the background to
keep me company in my reverie,
its adagio
I dried my hands, put my arms
around myself, and we danced
to the end of the movement, I’d
found, I understood, utterly, I
believed, miraculously, a key to
the very hereafter, adagios
would henceforth always
remind me of John
some time later, flipping aimlessly
through string quartets, of
Shostakovich among others, I
had, to my astonishment, not one,
not two, not three, not even four
nor five, but six whole adagios,
this was John talking, I knew,
I’ve loved it ever since
R ! chard
psst:
l – Elegy: Adagio
ll – Serenade: Adagio
lll – Intermezzo: Adagio
lV – Nocturne: Adagio
V – Funeral March: Adagio molto
Vl – Epilogue: Adagio
Dmitri Shostakovich

_______
for my mom
my mom, the other day, said she’d
looked up adagio in the dictionary,
submitted, as well, andante, and
allegro
well, that took long enough, I
thought, but concluded that we all
get the information we need in our
own good time, and it’s never, ever,
too late
they’re all tempi, of course, adagio
is slow, from ad agio in Italian, in
English, at ease, the other two are
incrementally faster
the adagio doesn’t usually stand
alone, it is too somber a pace to
immediately attract attention, it
therefore mostly fits into other
compositions that have a more
vigorous, a more engaging,
introduction, usually as its
second movement
minor, a work of only one segment,
which indeed would’ve been part
of a trio sonata, purportedly, had
Albinoni lived to complete it
the rule is not fast, Beethoven
an adagio, for instance, boldly and
unforgettably, indeed immortally
stops my breath, from Schubert’s
masterpiece for string quintet, his
R ! chard

__________
if a sonata is a piece of music with
more than one segment, and a
suite is also a piece of music with
more than one segment, what’s
the difference, you’ll ask, not
unreasonably
a sonata speaks for itself, as itself,
is itself, whereas a suite, also in
several sections, describes
something else, something not
itself, but a place, or an action, it’s
a tale, not an autobiography
this has some implications, the
sonata will consequently be more
expansive, displaying not only
emotional impact, but also
technical wizardry, will beat its
chest, in other words, whether in
agony or in bombast, whereas a
suite, while not excluding
necessarily those aspects, will
usually be more demure, objective,
snap its suspenders less
a suite also has more movements
than the sonata’s usual three or
four, consider the difference
between, in art, a triptych, for
instance, and a collage, they’re
in either case artworks, but with
different intentions
does any of this matter, to the
aficionado it does, if you want to
buy a home, you could be looking
for a duplex instead of a condo, if
you’re listening to music, you
might prefer chamber pieces to
large orchestras, suites to sonatas
though not yet identified, in 1838,
as a suite, since the term hadn’t
been used that way yet, is
nevertheless not any different
in kind from Debussy’s later
that the label fits, however
retroactively
you could say the same of Beethoven’s
it’s also, however retroactively, a suite
Sonata, to compare with his
original subject, the difference
between a suite an a sonata
listen
R ! chard

______
for my friend, Elizabeth, who just
recently passed away, may her
own pilgrimage be blessed
1. Angélus! Prière aux anges gardiens
2. Aux cyprès de la Villa D’Este, Threnody (l)
3. Aux cyprès de la Villa D’Este, Threnody (ll) ((ll)
4. Les jeux de la Villa D’Este
5. Sunt Lacrymae rerum (en mode Hongrois)
These are tears for things (in Hungarian mode)
Maximilien. Empereur de Mexique, 19 juin, 1867)
7. Sursum corda (Erhebet eure Herzen)
here or above, with Beethoven’s own
from his 12th Sonata, you’ll hear the
stirrings of Impressionism peeping out
from the roots of Romanticism,
Beethoven, in 1801, is firm, solid, direct,
poignant, while Liszt, 1877, is more
diffuse, improvisational, evocative, his
is an idiosyncratic marche funèbre
compare either two with Chopin’s
Beethoven’s still, and as implanted
in our collective consciousness,
where Liszt’s more esoteric
interpretation of such a march has
essentially been forgotten
should it be, what do you think, you
tell me
R ! chard