Richibi’s Weblog

Just another WordPress.com weblog

Month: October, 2018

the essential Romantic violin concertos

the-violin-1916.jpg!Large

   “The Violin (1916) 

        Juan Gris

            _____

if I was able to bring up a list of 
ten top Romantic piano concertos  
throughout the 19th Century earlier
can number of violin concertos 
only three essential ones, with,
however, two other significant 
such compositions, which remain, 
for one reason or another, 
peripheral, secondary  

more about which later

but the exalted three are situated
conveniently, the first, at the very 
beginning of the Romantic Era, 
Beethoven’s magisterial, even 
extraordinary, Opus 61 in D major
1806, and close doubly with the
two others, Tchaikovsky’s
resplendent workwords cannot 
do it justice, and Brahms’ no less
transcendental one, at its very end, 
1878, none are negligible, it’d be 
like missing the Eiffel Tower while 
in Paris, skipping the pyramids 
along the Nilethey are part of our 
cultural consciousness, it would 
be an utter shame to pass them 
by, they are our glory, our 
magnificent heritage

it should be noted that the 
concerto, be it for violin, piano, 
cello, what have you, a soloist 
in concert with an array of 
instruments, is the perfect allegory 
for the Romantic Era, an individual 
in contention with a community, 
under the influence of a conductor, 
a mayor, a mentor, a polity, the
individuality afforded by the 
proclamation of human rights in 
the aftermath of the French 
Revolution, and its social 
consequences, musically 
manifested

the match might be fraught, 
should be, though with 
compromise, considerate 
accommodation, fruitful, 
hopefully even transcendental, 
if not at least entertaining, 
cooperation, music seems to 
infer eventual concord, 
congress, harmony, a way out 
of, even dire, distress, or at 
least point the way toward it

concertos die out, incidentally, in 
the 20th Century, you don’t hear 
of very many, if any at all, after 
Rachmaninoff, they are gone,
much like later, in the 1950s, the 
waltz, forever, with the wind

may they rest in peace


R ! chard

Advertisements

cuisine, modern art

still-life-food-glasses-and-a-jug-on-a-table-1640.jpg!Large

    “Still Life. Food, Glasses and a Jug on a Table (1640) 

           Pieter Claesz

               _______

if I’ve been trying to show off Beethoven,
and other Romantic artists, painters, 
poets, composers, as prophets in a
post-Christian, secular environment, 
their modern equivalents show up in,
of all places, cuisine in the 21st Century,
where chefs have become the new, and
dominant, expression of art, if you can 
believe it, but trust me 

I can’t but urgently enough recommend,   
should you be at all interested in the  
evolution of creative genius, 
Chef’s Table“, an already 5-year-old 
series on Netflix, $9.99 a month, with 
a first month free trial, a show that 
gives you, to my mind, front row 
seat for the manner in which an artist
becomes an expression of, a lighting 
rod for, social change, a picture of 
the juice it takes to produce such a 
person

who could be any one of us, all that’s
needed is a conscience

and maybe, admittedly, a muse


R ! chard 

psst: a few of their restaurants I’ve 
          virtually visited 

          Osteria Francescane – with a friend, 
          we decided we’d have the foie gras
          as a starter, snails and hare with 
          “aromatic herbs” for our primi, but
          she’d have the beef, I’d have the 
          suckling pig as secondi

           Attica’s set menu doesn’t give you
           much of a choice, though it promises
           utter, and I believe them, excellence

           Alinea, where eating is more than 
           even just a designer meal, but a
           very transcendental experience 

Piano Concertos 2, 3, 4 – Beethoven

the-liberty-leading-the-people-1830.jpg!Large

     “Liberty Leading the People (1830) 

             Eugène Delacroix

                    _________

                               for everyone, with great gratitude, 
                                  who reads me, I mean only to 
                                     bring poetry, which is to say,
                                        light

though I’d considered leaving the 
Romantic Piano Concertos behind
to explore other areas of the period
in this survey, it seemed unfair,  
indeed remiss of me, not to include 
the three among my top ten that I 
haven’t yet highlighted, Beethoven’s 
2nd, 3rdand 4th Piano Concertos
Opuses 1937and 58 respectively,
after all, these are where the spirit 
of the age, the Zeitgeist, was 
constructed, like a building, with 
walls, windows, a hearth, all of 
which would become church, 
then a Church, and by the time of 
Brahms, a very Romantic Cathedral 

the foundation had already been laid 
by Mozart with his 27, but music had 
not yet become anything other than 
an entertainment by then, or 
alternatively, an accessory to 
ceremonial pomp and circumstance, 
see Handel and England for this, or 
liturgical stuffsee, among many 
others here, Bach

but with the turn towards 
independence of thought as the 
Enlightenment progressed, cultural 
power devolved from the prelates, 
and their reverent representations, 
to the nobles, who wanted their own 
art, music, which is to say, something 
secular, therefore the Classical 
Period, 1750 – 1800, in round figures

then in the middle of all that, 1789, 
the French Revolution happened, 
and the field was ripe for prophets, 
anyone with a message of hope, 
and a metaphysical direction, midst 
all the existential disarray – the Age
of Reason had set the way, 
theoretically, for the possibility of a 
world without God, something, or 
Something, was needed to replace 
the The Trinity, the Father, the Son, 
and the Holy Ghost, Who had been 
seeing Their supremacy contested 
since already the Reformation 

Beethoven turned out to be just
our man, don’t take my, but history‘s 
authentification of it, see the very
Romantic Period for corroboration

in a word, Beethoven established 
Faith, a Vision, not to mention the 
appropriate tools to instal this new 
perspective, a sound, however
inherited, musical structure – his 
Piano Concertos TwoThreeand 
Four, for instance, are paramount 
amongst a host of others of his  
transcendental revelations

briefly, the initial voice, I am here, in 
the first movement, is declamatory, 
even imperious, but ever 
compositionally solid, and proven, 
tempo, tonality, recapitulation, the 
materials haven’t changed from the 
earlier Classical epoch, just the 
design, the interior, the 
metaphysical conception

his construction is masterfully
direct, the line of music is 
throughout ever clear and concise, 
despite flights ofoften, ethereal, 
even magical, speculation, you 
don’t feel the music in your body 
as you would in a dance, as in the 
earlier eraof minuets, but follow 
it, rather, with your intellect, you,
nearly irresistibly, read it

but the adagio, the slow movement, 
the middle one Classically, is always, 
for me, the clincher, the movement 
that delivers the incontrovertible 
humanity that gave power to the 
Romantic poet, who touched you 
where you live 

Beethoven says life is difficult, and
eventually, at the end of his Early, 
Middle and Late Periods, life may 
even have no meaning
 
but should there be someone, he 
says, who is listening, Someone – 
though implicit is that one may be 
speaking to merely the wind – this 
is what I can do, this is who I am
 
and while I am here, however 
briefly, am not insignificant, I 
can be worthy, even glorious, 
even beautiful, I am no less 
consequential, thus, nor  
precious, than a flower

for better, of course, or for worse


R ! chard

Piano Concerto no 2, opus 83 – Brahms

1024px-Notre_Dame_de_Chartres.jpg

      Chartres Cathedral

          _____________

if Brahms’ 2nd Piano Concerto is, to my 
mind, the last one of the Romantic Period,  
Beethoven’s First is, accordingly, the first
 
I thought it, therefore, instructive to pair 
them 

Beethoven, impelled by ideological 
speculations, built not only a variation
on what had come before, music as 
entertainment, a reason to dance, but
gave it a greater, which is to say, 
philosophical, dimension

by extending the reach of the cadence
beyond the usual metered rhythm, 
sending the melodic statement 
beyond an otherwise constricting bar 
line, Beethoven turned a lilt into a 
sentence, a ditty into a paragraph   

Shakespeare does the same thing to
poetry, for instance, with iambic 
pentameter devoid of rhyme

         “But, soft! what light through yonder window breaks?
          It is the east, and Juliet is the sun.
          Arise, fair sun, and kill the envious moon,
          Who is already sick and pale with grief,
          That thou her maid art far more fair than she”

                                  “Romeo and Juliet”, 2, 2, 2-6

and with this newfound oratory, 
peremptory, insistent, imbued, 
however, with utterly convincing 
honesty, unfettered emotion, 
which is to say, humanity, 
Beethoven establishes the 
sensibility of a very era, listen

that era, up to, eventually, Brahms
elaborates on that ethos, adding 
texture and enhanced authority 
to the original concept, setting 
the moral agenda for that, and 
other generations, to follow 

Brahms is more ponderous, mighty,
a cathedral instead of a church, a
commandment instead of an 
aspirational, merely, thrust, he 
adds even a fourth movement to 
an already magnificent structure, 
an extra steeple to towering 
edifice, a subliminally received 
reference to Beethoven‘s already 
inspiredbut tripartite only,  
architecture   

see Chartres for a comparable
ecclesiastical counterpart


R ! chard