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Tag: Frank Sinatra

twice upon a violin concerto – Beethoven / Paganini

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  “The Violin Lesson (1889) 

         Tom Roberts

              _______

to juxtapose two things for consideration
to my mind, is the best way to sharpen 
both one’s aesthetic and, therefore, 
spiritual personality, here, thus, are 
two contemporaneous, essentially,  
violin concertos, concerti, if you like, 
Paganini’s 5th, 1830, Beethoven’s
Only, 1806

let me point out that the Classical Era
is over at this point, this isn’t music 
for the courts any longer, but music 
as spectacle, you can hear it, it’s like 
moving from Frank Sinatra‘s 
nightclubs to David Bowie’s stadiums

noteworthy about these two pieces is 
that the structure in each is identical, 
the same lengthy introduction in the 
first movement, followed by an 
articulate, and eventually mesmerizing, 
elaboration on the initial melody by 
the soloist, with divergent, however, 
intentions, Paganini starts with a 
fanfare, promises histrionics, delivers
fireworks, Beethoven begins with 
portent, goes instead for drama, 
which is to say, your heart, as well

both their second and third movements 
are essentially, then, indistinguishable 
conceptuallytheir last movement in 
either is even a rondo

the challenge in the Paganini is physical,
the glory is in the player’s technical 
prowess

with Beethoven the requirements are 
both physical and emotional, he 
punches for the heart, which the 
player musttherefore, with equally 
astounding panache, incidentally, 
also conquer 

style, in other words, over substance,
substance over style, which is to say
The Phantom of the Opera“, for
instance, or Cirque du Soleil,
Rachmaninov, maybe, versus 
Liberaceyou are the judge

history has sided, however, with 
substance, Beethoven’s Violin  
Concerto is everywhere, it isn’t at 
all easy, conversely, to come up  
with any of Paganini’s, despite 
their incontestable magnificence

maybe it’s time for a Paganini 
revival, they did that several years 
ago for the inimitable Rossini, an 
effervescent light in an otherwise 
mostly dour 19th Century, listen,
with counts and countesses here  
in attendance, at very, can you 
believe it, Versailleswow

 
R ! chard

Cello Concerto no 1 in C major – Joseph Haydn

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     “St. George and the Dragon (c.1470) 

                Paolo Uccello

                    ________

it isn’t easy for me to leave Bach behind
whenever I start listening to him, I could 
ride his musical train forever

but the middle of the 18th Century did, put 
him aside, for about a hundred years, until 
Mendelssohn rediscovered him

Bach’s Cello Suites were themselves only 
reinstated in the 1930s by Pablo Casals,
the Classical 18th Century had considered 
Bach too fussy, his pieces, they thought, 
were technical exercises rather than 
actual entertainments, form was  
overtaking, for them, function 

there’s a wonderful book about all this,
The Cello Suites“, written by Eric Siblin, 
a Canadian journalist, which is not only 
amazingly informed and probing, but also 
beautifully written, it holds a place of 
honour on my bookshelf, along with other 
inspired, and inspiring, texts

not only was Bach set asunder, dismissed,
during the Classical Era, but all of the 
formative music also he had written, for 
cello, violin, keyboard, in other words,
the entire curriculum

which, since Bach’s reinstatement, has 
become, paradoxically, the very  
foundation for learning these instruments

imagine playing a tune with the right 
hand, then a few notes later, picking 
it up in the left hand while the right 
hand keeps on going, imagine what
that does to your fingers, never mind  
to your mind, that’s what his Two-Part
Inventions are all about, fifteen of 
them, eight in major keys, seven in
minor, consider the technical 
difficulties, intricacies, imposed 
both compositionally and upon 
the harried performer 

then Bach follows through with his 
Three-Part Inventions to top it all 
off, for the keyboard at least, and 
only for the moment – there’ll still 
be his transcendental Goldberg 
Variations” among other 
incandescent masterpieces – 
wherein one juggles three tunes at 
time, and all of them in the same 
assortment of fifteen contrasting, 
foundational, keys, the “Inventions
 – if you can do that, you’re on your 
way, one would think, to knowing 
entirely what you’re doing

but time marches on, the Classical
Era hits, Haydn takes over, not
unimpressively

the same thing happened in my 
generation to Frank Sinatra via 
the Beatles, not to mention, a little 
later, to either, with Pink Floyd

listen to Haydn’s First Cello Concerto,
note the bravura inherent in the 
composition, this is not Bach’s 
meditative music, the very Romantic 
Period is, through Classical reserve, 
expressing already its imminence, 
individual prowess is taking over 
from community, which is to say 
religious, affiliation, the same way 
the Renaissance artists, Duccio
GiottoFra AngelicoFilippo Lippi
Uccello had stood out, incidentally, 
from their brethren in the standard 
communal art schools dedicated to 
decorating the ever burgeoning 
churches sprouting out in the still
fervent European environment 

musical, though unaristocratic, 
talents, this time, were beginning, 
within German context, to flex 
their decidedly not unimpressive 
muscles, and gaining some 
significant purchase

and who wouldn’t when a Cello 
Concerto would’ve sounded like 
this, listen


R ! chard

the importance of believing in your dreams‏

                                                                                                                                                 today on the Internet I was looking for something
completely different when I inadvertently fell upon
this, for a movie I’ve never been able to abide
Shirley MacLaine won her only Oscar, having missed
out on her other way more wonderful performances,
Irma la Douce“, “The Apartment“, her unforgettable  
Some Came Running“, where she makes easy
mincemeat out of both already established celebrities
Frank Sinatra and Dean Martin, for instance  

here in her acceptance speech she reminds us how                                       integral our reality can be to our dreams 
 
                                                                                                                                              Richard