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Date: | Thu, 17 Jun 1999 17:54:03 +0200 |
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Andrew Carlan <[log in to unmask]> tell us about poor Nielsens and
Beethovens:
>Poor Beethoven, he really did want to share love both as Eros and agape.
>His whole life was a search for the right musical expression of this love
>of women and mankind. The Ninth is a noble failure. For Beethoven it is
>maudlin and the last movement embarrassingly trite.
Not read Susan MacClary?
>Then he really heard Bach and Handel and found his language. It began
>with the Eighth Symphony.
Take notice he composed the Eight before the Ninth.
>Although the Eighth is late, it is one of the shortest, because it is
>compressed and built on gestures rather than fully developed themes.
That is exactly why I like the 8. so much, just for, and poor Beethoven
would turn in his grave when I say it; he composed like an aristocrat.
Like Glinka. I have just listened to the 8. so many times that I can
hardly stand it anymore - the same goes for Ludwig 3 and van Beethoven 6.
What do you think after the 150. listening?
>The second and third periods overlap. The Ninth Symphony looks back.
>The Beethoven symphony collapses in on itself. In the Eighth, Beethoven
>took his symphonies as far as they could go. No one since has produced
>a symphony as full of power and meaning so concisely as the Eighth.
That would be true for me if I could dedice for that I finally fully
understand the 9.
>Andrew E. Carlan
>Speaking up for Nielsen
James Zehm <[log in to unmask]>
Looking down on Nielsen ;-)
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