An odd curiosity that exists in some sort of limbo between rondo and variations, although it is couched within the rhetoric of rondo. Its awkwardness could be the result of the odd phrase structure set up in the opening ABA period group. The A sections: the first eight measures are a clear and well-defined parallel period, while the middle section is more curiously defined 6 measure phrases that also articulate four measure phrase groups through the return of the second half of the first period in its middle. Consequently Beethoven sets up a tension between the regularity of the opening and the irregularity of the middle. Phrases that seem to want to overflow their borders are constrained by their boundaries and others overflow them without balancing out the whole. In many of Mozart's works the phrase structures are similarly off-kilter, but the whole sounds smooth. Here the phrases are off-kilter, but the whole sounds jarring. Biamonti has little to say about this work, remarking only: "Il Manoscritto originale è perduto"
Showing posts with label Rondo. Show all posts
Showing posts with label Rondo. Show all posts
Tuesday, May 26, 2009
Rondo for Piano in A major (1783)
Biamonti 5; WoO 49
An odd curiosity that exists in some sort of limbo between rondo and variations, although it is couched within the rhetoric of rondo. Its awkwardness could be the result of the odd phrase structure set up in the opening ABA period group. The A sections: the first eight measures are a clear and well-defined parallel period, while the middle section is more curiously defined 6 measure phrases that also articulate four measure phrase groups through the return of the second half of the first period in its middle. Consequently Beethoven sets up a tension between the regularity of the opening and the irregularity of the middle. Phrases that seem to want to overflow their borders are constrained by their boundaries and others overflow them without balancing out the whole. In many of Mozart's works the phrase structures are similarly off-kilter, but the whole sounds smooth. Here the phrases are off-kilter, but the whole sounds jarring. Biamonti has little to say about this work, remarking only: "Il Manoscritto originale è perduto"
An odd curiosity that exists in some sort of limbo between rondo and variations, although it is couched within the rhetoric of rondo. Its awkwardness could be the result of the odd phrase structure set up in the opening ABA period group. The A sections: the first eight measures are a clear and well-defined parallel period, while the middle section is more curiously defined 6 measure phrases that also articulate four measure phrase groups through the return of the second half of the first period in its middle. Consequently Beethoven sets up a tension between the regularity of the opening and the irregularity of the middle. Phrases that seem to want to overflow their borders are constrained by their boundaries and others overflow them without balancing out the whole. In many of Mozart's works the phrase structures are similarly off-kilter, but the whole sounds smooth. Here the phrases are off-kilter, but the whole sounds jarring. Biamonti has little to say about this work, remarking only: "Il Manoscritto originale è perduto"
Sunday, May 24, 2009
Rondo for Piano in C major (1783)
Biamonti 4; WoO 48
A simple rondo in a solid classical, almost gallant, style. The rondo theme is a forgettable alternation of tonic tones and dominant tones articulating a a steady and predictable phrase pattern. The piece goes through the paces, it has moments in the minor and a slight, very slight development, always keeping the clear phrase divisions of the work. What is interesting is that these phrase divisions can be deceptive, in the theme the strict alternation of four bars is clear, but sometimes it is elided, othertimes it becomes 2+2+2, instead of 2+2+2+2 measures, you'll note this in the first episode. Like several other of these very early works it was published by the influential Bossler in the Blumenlese für Klavierliebhaber, or as the Bethovenhaus so lovingly translates it: “Bouquet of the Finest Flowers for Lovers of the Piano.” Bossler also was responsible for publishing and publicizing the music of Haydn, Mozart and Pleyel.
A simple rondo in a solid classical, almost gallant, style. The rondo theme is a forgettable alternation of tonic tones and dominant tones articulating a a steady and predictable phrase pattern. The piece goes through the paces, it has moments in the minor and a slight, very slight development, always keeping the clear phrase divisions of the work. What is interesting is that these phrase divisions can be deceptive, in the theme the strict alternation of four bars is clear, but sometimes it is elided, othertimes it becomes 2+2+2, instead of 2+2+2+2 measures, you'll note this in the first episode. Like several other of these very early works it was published by the influential Bossler in the Blumenlese für Klavierliebhaber, or as the Bethovenhaus so lovingly translates it: “Bouquet of the Finest Flowers for Lovers of the Piano.” Bossler also was responsible for publishing and publicizing the music of Haydn, Mozart and Pleyel.
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