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much like adagios, andantes, the
next step up with respect to pace
in musical compositions from
adagios, are rarely intended to be
alone, are part, most often, of a
larger creative intention, though
they must appear singly here and
there somewhere in the literature,
though where, I don’t yet know
and I’ve looked
remember, a Mozart, not surprisingly,
he was young and exuberant, adagios
would’ve been not immediately given
to so youthful an artist, consequently
less prevalent in their music, nor his,
Beethoven would be more ripe for
adagios, indeed crushing adagios,
eventually, in a more conflicted time,
but that’s another story
it’s the middle movement of his
less, itself, a monument to Western
a work that for my generation most
defined the essential Mozart
note that the anguish, at even this
accelerated tempo, from the
foundational adagio, is crushing
still and, still, utterly unforgettable
R ! chard