If I recall correctly and this is a big if as I get older, GG was planning on recording the complete sonata Op.22 and only got around to recording the second and third movements. These were supposedly discovered "in the vault" so to speak after his death. I do know from one of GG's writings that he disliked this particular sonata and this may be why he did not complete his recording of it. I seem to remember reading somewhere that there were discussions for GG to record all of the Beethoven piano sonatas with Columbia. Obviously this project was never completed. Even though he disliked the Waldstein, I would have been curious to see what he made of it anyway. Would he have "re composed" it like he did the Appassionata or to a lesser extent the Hammerklavier? I wonder.
Eric Cline
Reichhold
Sr. R & D Synthesis Chemist
P.O. Box 13582
Research Triangle Park, NC 27709
USA
Office Phone: +1 919 990 8116
Mobile: +1 919 949 5191
Fax: +1 919 767 8506
E-mail: eric.cline@reichhold.com
-----Original Message-----
From: F_Minor [mailto:F_MINOR@EMAIL.RUTGERS.EDU] On Behalf Of DAVID KIRKPATRICK
Sent: Wednesday, January 05, 2005 2:24 PM
To: F_MINOR@EMAIL.RUTGERS.EDU
Subject: Re: [F_MINOR] F_MINOR Digest - 27 Dec 2004 to 4 Jan 2005 (#2005-1)
Hi. Drawing on my 1st grade arithmetic experience and the fact that
Beethoven's Op. 22 has four movements, I'm guessing that "inner movements"
refers unambiguously to the 2nd and 3rd movements -- and that it means the
equivalent to "middle movements".
I too have played piano since age 4, but have only reached grade 5 or
thereabouts in music, so I'm falling back on my mathematics background in
this case. :-)
On a more serious note, I find this factoid about the two movements in a
vault interesting. Of course, if movements 1 and 4 simply got lost, it's
not so interesting at all. But if Glenn actually began recording the sonata
out of sequence -- or only liked the middle two movements -- that's
interesting indeed. Is this an unusual thing in the sonata recording
industry -- to record out of sequence? I'm reminded of one critic's opinion
(don't ask me who) that Haydn most excelled in minuets and finales, Mozart
in opening movements and Beethoven in slow movements. And of the notion
that the emotional center of a piece is often in its literal center. It
sounds like a typically Gouldian experiment to record a sonata or suite out
of sequence in order to get a new perspective on the music's emotional or
intellectual truth. Some purists might call this particular type of new
perspective "a lie" -- but that charge arguably goes hand in hand with any
studio production. An interesting aspect to this hypothetical controversy
is that we can imagine recording the Eroica Symphony Funeral March as a kind
of esthetic experiment and imagine the controversy that might result from
the revelation of this trickery. Yet the composer who "buried" the funeral
episode in an "inner" movement is arguably guilty of the same order of
trickery as the performer / conductor. I think the bottom line in Gould's
philosophy is that it is at least as valid to think of a performance as a
kind of composition (or meta-composition) as a kind of drama.
David
-----Original Message-----
From: F_Minor [mailto:F_MINOR@EMAIL.RUTGERS.EDU] On Behalf Of lstanwyk
Sent: January 5, 2005 12:14 PM
To: F_MINOR@EMAIL.RUTGERS.EDU
Subject: Re: [F_MINOR] F_MINOR Digest - 27 Dec 2004 to 4 Jan 2005 (#2005-1)
Not only do I have my B.Mus. and have been playing piano since age 4 (I
won't tell you how many years since that would reveal my age hehe...),
both my parents were professional musicians.. my grandmother was an
opera singer, my sister and both my brothers are also in music.. so I
therefore consider myself a somewhat humble authority on the subject...
I normally hear a movement referred to as it's placement in the
piece.... an 'inner' reference does not denote which specific movement..
it's too general, since some pieces have several movements. It's like
saying: in a sandwich there are two slices of bread and 'stuff' in the
middle... but 'stuff' doesn't exactly tell you what's in it!
Cheers :p
> "Cline, Eric" wrote:
>
> I have seen the term used from time to time in articles or even liner
> notes on a CD. I believe I have seen it used in one of the liner notes
> on one of the GG albums. Don't ask me which one. I have used the term
> frequently in discussions over the years. I know for a fact that I
> used the term in papers I wrote for my music classes in school.
>
> I never made the association with bodily functions. Interesting
> association.....
>
> :-)
>
> Cheers,
>
> Eric Cline
> Reichhold
> Sr. R & D Synthesis Chemist
> P.O. Box 13582
> Research Triangle Park, NC 27709
> USA
> Office Phone: +1 919 990 8116
> Mobile: +1 919 949 5191
> Fax: +1 919 767 8506
> E-mail: eric.cline@reichhold.com
>
> -----Original Message-----
> From: F_Minor [mailto:F_MINOR@EMAIL.RUTGERS.EDU] On Behalf Of lstanwyk
>
> Sent: Wednesday, January 05, 2005 10:17 AM
> To: F_MINOR@EMAIL.RUTGERS.EDU
> Subject: Re: [F_MINOR] F_MINOR Digest - 27 Dec 2004 to 4 Jan 2005
> (#2005-1)
>
> In all my years as a music student - mind you, I graduated in 1990 so
> am
> a bit behind the times and the memory is a little foggy - the term
> 'inner' movement was never used as an official textbook reference to
> divisions of music... Casually? Yes, I suppose so... E.g., 1st, 2nd,
> 3rd
> and 4th movements yes... but inner movements? The term sounds silly
> to
> me - referencing to bodily functions more than musical strata lol...
>
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