Classical Music R.I.P.
Sun, Jul 29 2012, 1:12AM
#2
RE: Classical Music R.I.P.
Alice, what do you think of Opus 130, the quartet in B flat? Are you for the original finale, the Grosse Fugue, or the replacement Allegro, probably the last piece he ever wrote? Personally I prefer the latter but most quartets seem to prefer the Grosse Fuge. Yet Beethoven's second thoughts were explicit enough, or were they?
Sun, Jul 29 2012, 11:29AM
#3
RE: Classical Music R.I.P.
I like it and I like both options. In fact I like the fact that we have a choice. As Beethoven wrote both movements for the quartet I think it entirely up to the performers which they play. The Grosse Fuge used to be underrated, now it may be a little overrated. The replacement was written by Beethoven because it was suggested to him that 'it might be a good idea to think again', I don't think he really wanted to but I'm glad he did, we now have both versions, excellent. All true artists know compromise, only critics think it is a dirty word, but then they are experts in dirty words and little else.
Sun, Jul 29 2012, 10:13PM
#4
RE: Classical Music R.I.P.
I believe Alice is quite right. We should feel blessed Beethoven left two great Finales.
I found the question "which are for" a bit too much, artificial and of no actual answer. In live recordings, the particular String Quartet can choose based on the program. Normally, the second shorter version is opted for reasons of balance. "Die Grosse Fugue" is practically considered as an independent piece due to its length, complexity and very special character (a Great and Complex Fugue).
Its length covers the one third of the time of the preceding five movements. Its complexity has nothing to do and cannot be compared even with the rather long first movement and it is in great contrast with the sublime Cavatina (the 5th movement), which normally cannot exceed the 6-7 minutes. Its character is almost alien to the rest of the Quartet. The best combination is to use both versions: the second as the logical balanced finale and the Grosse Fugue as an independent work (mentioning always that it was intended as the Finale of the op. 130). In any case, in recordings, they used both, normally in the way I described above. The problem might come up in live performances only, for various reasons in shaping the program.
Parla
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Alice, how much do you actually know of Beethoven's music? I ask because, despite your frequent advocacy of him, as far as I can recall, you've never mentioned a single one of his works. I presume "infinity" excludes any possibility of variation in quality but surely you must have some personal preferences? If so, what are they?
OK, if it will make you happy I'll mention one of his works. Symphony No1. Happy now. I'll also tell you a work I like, Piano Sonata No 17. I'll tell you a work I'm not very keen on Fantasy for piano, chorus and orchestra. OK, do I pass the test and get a certificate.