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Tag: Piano Sonata no 12 – Beethoven

“Années de pèlerinage”, 3rd Year – Liszt

1024px-Villa_d'Este_01.jpg

      Villa d’Este 

 

         ______

 

                      

                                   for my friend, Elizabeth, who just

                                       recently passed away, may her

                                            own pilgrimage be blessed

 

 

 

  here’s Liszt’s “Années de pèlerinage”, 3rd Year 

 

        1. Angélus! Prière aux anges gardiens

        2. Aux cyprès de la Villa D’Este, Threnody (l)

        3. Aux cyprès de la Villa D’Este, Threnody (ll) ((ll)

        4. Les jeux de la Villa D’Este

        5. Sunt Lacrymae rerum (en mode Hongrois)

                        These are tears for things (in Hungarian mode)

        6. Marche funèbre (en mémoire de

                    Maximilien. Empereur de Mexique, 19 juin, 1867)

        7. Sursum corda (Erhebet eure Herzen)  


compare Liszt’s Marche funèbre“, click

here or above, with Beethoven’s own

Marcia funebre sulla morte d’un eroe 

from his 12th Sonata, you’ll hear the 

stirrings of Impressionism peeping out 

from the roots of Romanticism, 

Beethoven, in 1801, is firm, solid, direct,

poignant, while Liszt, 1877, is more 

diffuse, improvisational, evocative, his 

is an idiosyncratic marche funèbre 


compare either two with Chopin’s 

“Marche funèbre” from his Piano

Sonata no 2, 1840, as Romantic as 

Beethoven’s still, and as implanted

in our collective consciousness,

where Liszt’s more esoteric 

interpretation of such a march has

essentially been forgotten

 

should it be, what do you think, you

tell me

 

 

R ! chard

 

twice upon a dirge – Beethoven / Chopin

owl-on-a-grave-1837.jpg!Large

   Owl on a Grave” / “Eule am Grab (c.1836 – c.1837) 

          Caspar David Friedrich

                   _______

following my nose rather than 
my intellect in my exploration 
of musical treasures, like a very 
Aladdin uncovering at the click 
of my password a cave full of 
priceless wonders, I might find 
stuff out of sequence, but gems
nevertheless, and I can’t just 
whisk by without acknowledging 
them, however peripheral to my 
main task  

it’s like heading towards the Eiffel
Tower in Paris, and not stopping 
at the Arche de Triomphe

though I’d debated so soon 
presenting these two pieces, 
not because of their chronology 
especially, though also that, but 
mostly because of their dour 
content, I’ll point out that the 
move from Classicism to 
Romanticism is the transition 
from dance music, delightful 
music, to drama, passion, 
powerful emotions, dirges, 
therefore, are not out of place, 
however mournful

thus the two most famous 
funeral marches, Beethoven’s,
Chopin’s, the third movement 
in either of their home sonatas

the clincher for me was the 
immaculate performance of 
the Chopin herea revelatory 
moment, though the Beethoven
significantly earlier, the tune, 
1801, 1837, is nevertheless 
unimpeachable, however still 
underdeveloped – four variations 
only in the first movement, for 
instance, and all of them 
elementary – the caterpillar had 
not yet become the butterfly, the 
apple blossom the apple

note that each movement in the 
Chopin, apart from the last, has
two distinct tempi, executed 
effortlessly and nearly 
imperceptibly, a total of six, you 
can’t see, you can’t hear, the 
seams as you listen, which, with 
its virtual therefore episodes, 
conflicting and tortuous 
emotions, constitute collectively 
a drama, a narrative, music has 
become literature

the last movement of the Chopin
moves beyond even tempo – 
Beethoven’s also, incidentally, 
nearly – creating therefore 
very challenge to it, both trying 
to transcend tempi, an area to 
closely watch

Beethoven’s Piano Sonata no 12

Chopin’s Piano Sonata no 2

take your pick

both are supremely, mark, 
instructive


R ! chard