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Tag: Piano Sonata D960 – Schubert

“Caprices” for Solo Violin – Paganini

musical-f-te-1747.jpg!Large

    “Musical Fête (1747) 

           Giovanni Paolo Panini

                        ____________

though by now you must be assuming 
that Beethoven had been defining the
entire early Romantic Period all by 
himself, 1803, let’s say, to, say, 1810, 
when Schubert, 13 by then, started 
kicking in, however immaturely, with 
his D1 – D1, note, not D960, over a 
thousand compositions later, a work 
imbued, so early, not unexpectedly,  
with the irrepressible spirit of Mozart, 
and therefore, by thenincidentally, 
audibly outdated – but you would be, 
we would  be, overlooking the extraordinary  
influence of a maverick, a relic of the  
earlier Italian domination of the arts, 
from the Renaissance, at least, on – 
Paganini – the wizard of the 
violin, who’d sold his soul, like Faust,  
to the devil, it was susurrated, for his
extraordinary gift
 
Bach had not only changed the course 
of musical history, in the early 18th
Century, but shanghaied the very 
language of art as oracular expression,
and substituted music as the voice that 
spoke for the people, music will define 
henceforth, for a time, the period
 
there is the Italian Baroque, of course,
utterly masterful paintings, sublime
even, see abovebut it has been 
supplanted in our 21st-Century 
popular imagination by the Baroque 
of the German nations, their music, 
Bach’s, transcendental then, though 
ever so intricate, descriptions of his 
particular epoch 

this dominance will migrate to Paris, 
eventually, and back to art, painting, 
after over a hundred tumultuous, 
and impermeable, years, with the 
Impressionists, in the late 19th 
Century

meanwhile, Paganini will get in the 
way, 1780 – 1840, an exact, more or 
less, contemporary of Beethoven, 
1770 – 1827, and show off what 
Romantics can do, unleashed, 
before a newly enfranchised, and 
thrilled, as you will surely be, 
audience  

watch, be dazzled


R ! chard

psst: the Caprices are essentially
          cadenzas, the improvised solo
          sections in concertos, where 
          instrumentalists get to show 
          off their stuff, and riff, however
          exponentially, on their subject

          Paganini, makes an art form 
          of that, as do others, whom 
          I’ll bring up, trust me, later

          stay tuned

 

what’s up in Frankfurt – Piano Sonata in F minor, “Appassionata” – Beethoven

the-conversation-of-napoleon-and-francois-ii-1808.jpg!Large

  “The conversation of Napoleon and Francois II (1808) 

        Pierre-Paul Prud’hon

________

it’s 1804, Beethoven has entered his
Middle Period, left the more formal 
constraints of the Classical Period, 
Mozart and Haydn, behind, though
perhaps not essentially, the 
structure remains, hardwiredbut 
its spirit is entirely different, 
revolutionarily different, thanks to
Napoleon

and Beethoven is as opinionated 
as the revolutionaries, boisterous,
adamant, peremptory even, he is 
Zeus, and not undeservedly, at 
the top of Olympus’ musical 
mountain, where, incidentally, 
he still prevails, harmony’s very 
Homer

by his Opus 57, the Appassionata” 
– a name not of his own invention, 
but, however discriminately, ascribed 
later – he isn’t as metaphysical as 
Schubert is in that later poet’s D960
Beethoven is still writing descriptive 
texts, torrid novels, however 
masterfully illustrated, more than 
the philosophical stuff he’ll later 
undertake, even topping, when that
takes place, Schubert’s, ever, 
nevertheless, transcendental D960
if you can believe it

but Schubert remained a stripling, 
Beethoven, his elder, was given the 
grace to probe longer his humanity,
however might it have been equally 
cruelly benighted, and to stretch his 
speculative reach into previously 
unimagined dimensions, beyond 
the limited temporal scope of the 
surely shriven since Schubert 

all of whose wonders have defied 
the harsh indignities of time, and 
continue still to profoundly and
indelibly reverberate

listen, marvel


R ! chard