Richibi’s Weblog

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Category: Pink Floyd

the wall


   “Colors For A Large Wall (1951)

       Ellsworth Kelly


talking about walls, isn’t it only a few
years ago we were tearing one down

here is Roger Waters and several
other outstanding guest artists, in 
very Berlin, July 21, 1990, celebrating 
its demise

a little earlier, C***mas, 1989, only
moments after East Germans had 
been allowed to visit West Germany,
essentially giving way to the 
dissolution of the barrier, Leonard
Bernstein conducted Beethoven’s
Ninth Symphony, changing the 
word “joy” from the title of Schiller’s 
poem, appropriated by Beethoven 
for his great fourth choral movement, 
to “freedom”, giving new meaning, 
and new life, and new inspiration,  
to Beethoven’s always resounding 
nevertheless masterpiece

how soon we’ve forgotten


psst: let’s paint the wall

at the XVth International Tchaikovsky Competition – Bach‏

"J.S. Bach, Wohltemp. Klav. Bd. I, No. IV. (Extrait) / (Duo de Tristesse)" -  Robert Strûbin

“J.S. Bach, Wohltemp. Klav. Bd. I, No. IV. (Extrait) / (Duo de Tristesse)” (1957)

Robert Strûbin


if I’ve been getting on their backs
about their Bachs at the Tchaikovsky
, it’s that they’re playing
Bach as though he were mediocre
Beethoven, it’s like asking Duke
Ellington to be Pink Floyd, it’s just
a completely different generation,

Bach wrote for the harpsichord, a
precursor to the piano, it could not
control the volume, nor the length
of a note, the pianoforte came
along to resolve both issues

therefore before Beethoven, who
made full use of the new invention
and worked hard the pianissimos
and the fortissimos, to degrees that
often became either inappropriate
or too authoritative, indelicate or
obnoxious if you’re not in the mood
– I remember wanting to play his so
solemn 111 at my father’s funeral,
but realized late that the first
movement was not especially in
that situation warranted, nor even
parts of the transcendental, but not
always not obstreperous, adagio –
and thumbed thus his nose at the
aristocracy, who earlier, before
the citoyens had demanded their
rights and when the world had
been considered to be of a
rational, logical order, a clock,
and as regular, would never have
tolerated such impudence

Bach and Mozart do not sway
much from strict rhythm, neither
do they alter volume much at all

so that the constant display of
heartfelt Bach and passionate
Mozart becomes cloying, and
not at all what these Classical
and Baroque masters would
have approved of

nor Beethoven, nor Chopin, for
that matter, whose strict tempo
markings didn’t include much
rubato, ritardandos, which you
could think of as milking a note,
putting velvet on your canvas,
it doesn’t work, the composition
itself unaided by bathos, pathos,
delivers, check out, of course,
Glenn Gould

Andrei Korobeinikov sat me right
down the other night with his
arresting BWV868, thrilling,
followed by more dazzling
pyrotechnics, though he fizzled,
and fractured his Beethoven, the
very 111 I care so much for, I
couldn’t even finish, you don’t
need a velvet canvas behind the
111, neither cloying ritardandos,
just skill, nor tangles of notes,
for that matter


Canadian surrealism

"Capture of bear in the woods" - Klavdy Lebedev

Capture of bear in the woods (1907)

Klavdy Lebedev


if Pink Floyd pigs can fly, as well as
Michael Sowa penguins, watch what
bears can do
in Canada in January,
surely even in February

amazing, just click



Alexandru Ciucurencu - "May Day in Freedom" (1958)

May Day in Freedom (1958)

Alexandru Ciucurencu


two events took place after the fall
of the Berlin Wall, which have
remained cultural landmarks since,
nothing much comes close to their
historical significance, music to
declare a new world order

on December 25, 1989, Leonard
Bernstein conducts Beethoven’s
Ninth Symphony at the
Schauspielhaus in the former
East Berlin, it is remembered as
the “Freedom Concert” for having
replaced the word “Joy” in
Schiller’s poem during the “Ode
to Joy”,
the vocal novelty of the
Ninth, also its triumph, with the
word “Freedom”, a whim of the
conductor, not inappropriately

on July 21, 1990, Roger Waters
puts on The Wall“, Pink Floyd’s
20th-Century counterpart for the
Beethoven, the clarion call to do
away with barriers, fences, it’s
hard to dismiss its prescience
when the piece had been written
eight years earlier, seven years
before the fall of the Wall, as
though Pink Floyd had been

like Beethoven had been, not
at all coincidentally here
, in
his own day

both concerts are beyond
description, extraordinary

just click

watch for unexpected guest
appearances in either of,
everywhere, the very highest



February, 2015

 "February" - Michael Sowa


Michael Sowa


rather than a pictorial representation of
February, more snow over a picturesque
village, February in February is a
February of the mind, the mood, the
cocoon, the armchair, the paper, the cat
at the window watching penguins fly

or, extrapolating, watching pigs fly,

happy February


from Beethoven to Pink Floyd

in juxtaposing inadvertently recently
Pink Floyd’s “Dark Side of the Moon”
with Beethoven’s String Quartet no 14
in C# minor, opus 131
, I was once again
struck by how one resembled implicitly
the other, both had achieved structurally
an operatic concert, an original musical
form for each their epoch, a piece of
instrumental music – with, even with
Beethoven eventually, voice – see his
9th Symphony for that – in the form of

stay with me

songs started off as ditties, see, for
instance, in our time, She Loves You“,
the Beatles, in Classical music that’s
the equivalent of a Mozart sonata,
quick, easy to hum along with, and

then MacArthur Park came along, in
1968, with a song twice the length,
seven minutes and some, of anything
heard before, check out Jimmy Webb,
Richard Harris, and the process

that sounds a lot like Beethoven, I
thought, throw in extrapolations of
symphonic proportions and that
sounds a lot like Beethoven too,
saying, this is not just pretty, people,
it’s potentially momentous, listen

Sgt. Pepper’s Lonely Hearts Club
then put several compositions
together, without breaks, to give us
the first concept album, an
uninterrupted flow of various musical
ideas held together by an, however
inexplicit, theme

or MacArthur Park“, in other words,

in 1826, it had been Beethoven’s 14th,
where all this started out, no one had
ever done this sort of thing before,
confounded so intimately contrasting
musical forms, but he’d got it from
the Christian Mass

thus Beethoven, a secular prophet

and thus, in his eminent footsteps,
Pink Floyd, solely, among
contemporary artists, addressing

it all seems nearly inevitable today,
but it was 1968 then, a time of, if
you’ll recall, revolution

and all of these had been, for better
or worse, once again, our rallying
cries, anthems, towards a better


Beethoven’s piano sonata no 29, “Hammerklavier”, revisited, as promised

upon listening to Beethoven’s 29th sonata
one doesn’t imagine its originality, having
been showered for centuries now with its
miracles and majesties, nothing would’ve
been heard like it before, so great a project,
a work of not only temporal magnitude, an
astonishing fifty minutes, but evidently of
more than just mere entertainment, a work
of philosophical, even, amplitude

Beethoven is not just trying to delight, he’s
trying to engage here, bring together, stir,
more profound human responses, evoke
thought, responsibility, compassion, a
spiritual complicity in the new
post-Revolutionary secular order, he is
establishing new metaphysical ground

the subject is existential, the audience
no longer merely aristocratic, masses
now were talking, an affluent bourgeoisie,
artists were responding to a new Romantic
Age, about rights, and what it means to be
human, both men and women, incidentally
– and I stress that newly pertinent at the time
conjunction – above and beyond those of
God, for each couldn’t both hold the
supreme, the earlier Classical, pinnacle,
the rights of Gods and, by extension,
Kings, Queens if you lived in England,

secularism was needing new oracles

see Elizabeth Barrett Browning, for
instance, for the emergence of

see also, of course, otherwise,

the difference with Beethoven is that
he achieved, ultimately, profound
wisdom, I can think of no other
comparable poet, save, of course,
Marcel Proust, both of whom proved
to be, in the same breath, philosophers,
able to stake that exalted claim, certainly
no painter, a difficult medium through
which to philosophize admittedly, to
bring logical and existential constructions
together to enunciate a transcendental

then again, before Proust and Beethoven,
who’d ‘a’ thunk one could’ve transformed
words or music into very grace, mystically
transubstantiated gold, notwithstanding
the misguided alchemists

Pink Floyd did some of that in the Seventies
but retreated into historic and more personal,
less oracular, reminiscences, philosophizing
isn’t easy, see the punishment of Prometheus,
or, for that matter, John Lennon

Beethoven was completely deaf by the time
he composed the Hammerklavier“, lost in
his own isolation, like Homer, blind to,
though obviously not unaware of, his art

not lost, not unaware either, more like
having been given extrasensory, outright
extraordinary, manifestly, perception

to our utter and everlasting, both of them,


Beethoven: Sonata no. 21 in C major, op. 53 (Waldstein)‏

the “Waldstein” Sonata, no. 21 in C major, opus 53, is
one of the few compositions that Beethoven named
himself, which is to say that he dedicated it to a
friend and patron, Count Ferdinand Ernst Gabriel
von Waldstein
, if you can call that naming it

the ones with descriptive titles, the Moonlight, the
Pastorale“, The Hunt“, for instance, were mostly so
labeled by his publisher for ease of identification in
the growing market place, a more affluent merchant
class eager to take on the refinements of the nobles,
see such an instance of social mobility, however
lampooned, updated and upended, in again the
engaging and not at all unperceptive The Beverly

this means that the suggestive names we’ve come
to associate with his sonatas, Moonlight”, Pastorale“,
The Hunt“, were never conceived as such by
Beethoven, his compositions were ever purely musical
inventions, or more accurately inspirations, prophetic
pronouncements of a much more oracular order,
like Prometheus Beethoven was delivering nothing
short of fire

to match music to specific visual, or even emotive,
cues, incidentally, Pictures at an Exhibition“,
The Carnival of the Animals“, for example, came
later, already a nod to Beethoven’s even indirect

that titles were given to music, rather than the more
clinical and mnemonically difficult numbers, which
is to say, not easy to remember, isn’t very different
from the evolution of popular music in the early

the Beatles, you’ll remember, had cuts on albums
that had nothing more than their group name in
the titles, or the title of one of the album’s cuts,
“Sgt Pepper’s Lonely Hearts Club Band” came
along to change all that, we saw the birth of the
concept album, where the whole extended affair
becomes a musical metaphysics, this is no
different from the move from the music of Mozart
to that of the more expansive Beethoven, music
is no longer a ditty but an extended technical
and philosophical text, listen to Pink Floyd take
on this mantle superbly in the Seventies, the only
other body since ever to effectively challenge
Beethoven in that especially rarefied field, with
the probable exception of the sublimely expressive
Schubert perhaps, who died much too young for us
to tell, for him to have decisively dialectically proven
himself beside these erudite peers, all having,
however, found ways to have us touch beyond the
sky, the very infinite, and into the no less infinite
confines of our more private and secret selves

what they state is that creation itself, absent any
other meaning, remains potent, perhaps even
ultimately redemptive

creation as a bold and noble response to eternity,
art as affirmation

you’ll note here that the structure of this sonata
is entirely Classical, unity of tone, unity of pace,
and the eventual return of the initial melody,
essential Classical components, what has
changed is the personal bravura of the composer,
Beethoven is not playing for the aristocratic court,
but for a wider, an infinite, audience, he is
pronouncing his and, by extension, our own place
and validity in the universe, by our ability as humans
to create, to respond creatively, and even sublimely,
out of only our otherwise flailing and indeterminate

it is the Romantic response to the waning belief
in God, and incidentally a profound spur to,
argument for, our present notion of inalienable
individual rights

the personal soul has taken over from the earlier
unchallenged deity, the wavering concept of God
has had a seismic fall, and all the king’s horses
and all the king’s men will never be able to put it
together undiminished again

Beethoven is showing us that future


psst: Helena Bonham Carter plays excerpts from the
Waldstein“, incidentally, in A Room with A View“,
a movie entirely worth a revisit

“The Connoiseur” – Norman Rockwell‏

The Connoiseur - Norman Rockwell

The Connoiseur (1962)

Norman Rockwell


serendipitously trolling Rockwells after sensing his spirit in a
poem I’d just been reading I happened upon this marvelous
piece, an homage of course to Jackson Pollock, perhaps the
most successful of the Abstract Expressionists

but lurking behind the obvious surface of this painting it was
easy to recognize also another glaring, though not as explicit
maybe, tribute, misted perhaps by the transformational
permutations of context and time, wherein a seed becomes
a tree, a caterpillar becomes a butterfly, to no less an iconic
masterpiece than Caspar David Friedrich‘s Wanderer Above
a Sea of Fog
the work we just, a blog or so ago, explored

both look upon their own idea of a new horizon

and a Pop Art stab at an Abstract Expressionist through a
High Romantic is a cute trick, witty, wonderful, wise

it’s an easy step to a literary counterpart from there, Keats’
On First Looking into Chapman’s Homer nearly automatically
comes to mind, another iconic Romantic new dawn

Much have I travell’d in the realms of gold,
And many goodly states and kingdoms seen;
Round many western islands have I been
Which bards in fealty to Apollo hold.
Oft of one wide expanse had I been told
That deep-brow’d Homer ruled as his demesne;
Yet did I never breathe its pure serene
Till I heard Chapman speak out loud and bold:
Then felt I like some watcher of the skies
When a new planet swims into his ken;
Or like stout Cortez when with eagle eyes
He star’d at the Pacific—and all his men
Look’d at each other with a wild surmise—
Silent, upon a peak in Darien.

Beethoven, were I to go to music, is always, especially in his
later works, contemplating new dimensions, new worlds, he
more than any other composer is a metaphysical explorer

maybe also Pink Floyd

who’ve taken me to their own also exalted musical galaxies,
awesome commanding perspectives, transcendental heights,
to my own “wild” indeed “surmise / Silent, upon a peak in”
my version of “Darien”


psst: Chapman’s “Homer”