CLASSICAL Archives

Moderated Classical Music List

CLASSICAL@COMMUNITY.LSOFT.COM

Options: Use Forum View

Use Monospaced Font
Show Text Part by Default
Show All Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Subject:
From:
Mike Leghorn <[log in to unmask]>
Date:
Thu, 23 May 2002 12:21:20 -0500
Content-Type:
text/plain
Parts/Attachments:
text/plain (41 lines)
Daniel Christlein wrote:

>[..]
>Ah, let's pour some oil on the (already extinguished?) fire.  Here's what
>Egon Kenton says about these four notes in the liner notes for Vol.  2 of
>a Mozart Symphony cycle with Guenter Kehr and the Mainz Chamber Orchestra
>on VoxBox, regarding their appearance in KV 319:

>"At the risk of being called a fantast, this writer could suggest that the
>famous four notes that suddenly appear in the development section are also
>a hint to Mozart's conscious return to his native German musical language.
>These four notes [were] frequently used as a fugal subject (in this form
>or slightly changed) [...] In fact it took Beethoven three of his late
>quartets to develop this motif, the germ-motif of all three quartets, with
>a psychological meaning attributed to them by Paul Bekker in his monograph
>on Beethoven.  [...] Beethoven knew the famous four notes.  But he surely
>knew Mozart's G Major Quartet (dedicated to Haydn) and the 'Jupiter'
>Symphony as well, in addition to Haydn's Quartet Fugue in F Minor and his
>'Drum-roll' Symphony."

Daniel, thanks for sharing this fascinating story with us!  As you may
know, I was the "village idiot" who fanned the flames of the fire.  I feel
a little vindicated now!  I can't help but believe that someone must have
thought of the possible connection between Mozart's Jupiter and Beethoven's
Late Quartets.  This is the first I've heard of it.  Very exciting!

Since this topic has been brought up again, I'd like to share another one
of my (hair brained?) findings with the list: In the finale of Beethoven's
Eroica, just after the frantic introduction, measures 12 through 19 fit
nicely with the opening measures of the Jupiter finale.  I've stated before
that I thought there was a striking similarity between the four notes in
the Jupiter finale and the four notes of the Eroica finale (in that they
are compatible with each other), but at the time, I didn't realize that
the compatibility is actually sustained for several measures.  (When I
discovered this, I didn't feel it would be appropriate to share with the
list, as much as I had wanted to.  But now, that someone else has brought
up the subject -- thanks again Daniel!  -- I thought it would be ok.  Have
a field day everyone!:-) .)

Mike

ATOM RSS1 RSS2