I can't actually come up with very much worthwhile to say about this, the third of the WoO 36 Piano Quartets. On the whole, it has no particularly special moments,. The Adagio features a particularly beautiful melody, which unfortunately Beethoven buries in ornamentation. As a consequence, the melody never really gets the time to speak. Beethoven would return to some of these moments in his first published set of Piano Sonatas.
Showing posts with label Piano Quartet. Show all posts
Showing posts with label Piano Quartet. Show all posts
Saturday, July 18, 2009
Piano Quartet in C major (1785)
Biamonti 12, WoO 36, #3
I can't actually come up with very much worthwhile to say about this, the third of the WoO 36 Piano Quartets. On the whole, it has no particularly special moments,. The Adagio features a particularly beautiful melody, which unfortunately Beethoven buries in ornamentation. As a consequence, the melody never really gets the time to speak. Beethoven would return to some of these moments in his first published set of Piano Sonatas.
I can't actually come up with very much worthwhile to say about this, the third of the WoO 36 Piano Quartets. On the whole, it has no particularly special moments,. The Adagio features a particularly beautiful melody, which unfortunately Beethoven buries in ornamentation. As a consequence, the melody never really gets the time to speak. Beethoven would return to some of these moments in his first published set of Piano Sonatas.
Friday, July 17, 2009
Piano Quartet in D major (1785)
Biamonti 12, WoO 36, #2
I didn't find anything particularly memorable or interesting about this Piano Quartet, the second of the three WoO 36 quartets. It does have some special moments a la Schumann at the ends of some of its movements, notably the pizzicati at the end of the second movement, but that's all that stands out from the generally pedestrian. The Rondo seems more assured, but it is ridiculous to make a statement like that at this stage in the boy's career.
I didn't find anything particularly memorable or interesting about this Piano Quartet, the second of the three WoO 36 quartets. It does have some special moments a la Schumann at the ends of some of its movements, notably the pizzicati at the end of the second movement, but that's all that stands out from the generally pedestrian. The Rondo seems more assured, but it is ridiculous to make a statement like that at this stage in the boy's career.
Friday, June 5, 2009
Piano Quartet in E flat major (1785)
Biamonti 12, WoO 36, #1
the Piano Quartet was not a particularly well-known genre in the early years of Beethoven's life, nor was the key of Eb-minor, owing to its difficulty for performers. Nonetheless, this didn't particularly stop Beethoven from writing this set of three early piano quartets, some say biting into the combination before even Mozart did so.
This first quartet, in two or three movement (the first leads attacca into the second), is a mixed bag. After a long and very satisfying Adagio in the singing style, a bold Allegro follows; the symphonic fragments of Hess 298 appear. Its propulsive energy is a result no doubt of its syncopated six-measure opening phrase as it is of its use of the Mannheim Rocket figuration (and what I'll call the Mannheim crash - a reverse Mannheim Rocket after the repeat sign). I'd be remiss not to add the oft-cited remark that the structure and harmonic goals of this work and the others of this collection owe a direct debt to Mozart's Sonatas for Violin and Piano; here K. 379.
The second half of this quartet - a Theme and Variations is utterly pedestrian.
the Piano Quartet was not a particularly well-known genre in the early years of Beethoven's life, nor was the key of Eb-minor, owing to its difficulty for performers. Nonetheless, this didn't particularly stop Beethoven from writing this set of three early piano quartets, some say biting into the combination before even Mozart did so.
This first quartet, in two or three movement (the first leads attacca into the second), is a mixed bag. After a long and very satisfying Adagio in the singing style, a bold Allegro follows; the symphonic fragments of Hess 298 appear. Its propulsive energy is a result no doubt of its syncopated six-measure opening phrase as it is of its use of the Mannheim Rocket figuration (and what I'll call the Mannheim crash - a reverse Mannheim Rocket after the repeat sign). I'd be remiss not to add the oft-cited remark that the structure and harmonic goals of this work and the others of this collection owe a direct debt to Mozart's Sonatas for Violin and Piano; here K. 379.
The second half of this quartet - a Theme and Variations is utterly pedestrian.
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