Vom Tode Version for Guitar and voice

Haven't posted in awhile but just recently received this awesome video of Beethoven's "Vom Tode" (Op. 48, no. 3.) arranged and performed by Grant Valdes:


http://www.youtube.com/watch?v=Ddj5nlMl9jU

Fantastic job.  Check out Grant's YouTube channel for more good things.

Score available here: http://bit.ly/HqrVO7

Grant's adapted lyrics:
Time elapses every hour
What is it you have to live for?
Think, oh man, of your death
Defer not what is not yet
Good man

Speak now Lord that I am earth
Thrown as dust and floating downward
Show me that one day I cease
That one day I might be wise

If at your last friends tremble
Overruled by death
Raise your pure heart to the court
As if it were there.

Original text:
Meine Lebenszeit verstreicht,
Stündlich eil ich zu dem Grabe,
Und was ist's, das ich vielleicht,
Das ich noch zu leben habe?
Denk, o Mensch, an deinen Tod!
Säume nicht, denn Eins ist Not!

Lebe, wie du, wenn du stirbst,
Wünschen wirst, gelebt zu haben
Güter, die du hier erwirbst,
Würden, die dir Menschen gaben;
Nichts wird dich im Tod erfreun;
Diese Güter sind nicht dein.

Nur ein Herz, das Gutes liebt,
Nur ein ruhiges Gewissen,
Das vor Gott dir Zeugnis gibt,
Wird dir deinen Tod versüßen;
Dieses Herz, von Gott erneut,
Ist des Todes Freudigkeit.

Wenn in deiner letzten Not
Freunde hülflos um dich beben:
Dann wird über Welt und Tod
Dich dies reine Herz erheben;
Dann erschreckt dich kein Gericht;
Gott ist deine Zuversicht.

Daß du dieses Herz erwirbst,
Fürchte Gott, und bet und wache.
Sorge nicht, wie früh du stirbst;
Deine Zeit ist Gottes Sache.
Lern nicht nur den Tod nicht scheun,
Lern auch seiner dich erfreun.

Überwind ihn durch Vertraun,
Sprich: Ich weiß, an wen ich gläube,
Und ich weiß, ich werd ihn schaun
Einst in diesem meinem Leibe.
Er, der rief: Es ist vollbracht!
Nahm dem Tode seine Macht.

Tritt im Geist zum Grab oft hin,
Siehe dein Gebein versenken;
Sprich: Herr, daß ich Erde bin,
Lehre du mich selbst bedenken;
Lehre du mich's jeden Tag,
Daß ich weiser werden mag!

7/17 Beethoven's Symphonies and Overtures for Guitarists and Experimental Music Lovers

Picasso, "Woman with Mandolin" 1910

The symphonies of Beethoven are to me the greatest artistic creation in the history of mankind.  So of course it's pretty ambitious to transcribe these for rock instruments.  I resisted for a long while, but once I figured out a way to do the concertos, it was a natural next step.  The first couple symphonies took to a new instrumental arrangement relatively painlessly, but then things started getting sticky.  By the time I got to the 8th, the whole thing started sounding like avant-garde music from the future!  Taming the 9th was a journey in itself.  Nonetheless, here's the fruits of those labors, and I'm sure I'll come back to these again and again with "improvements"....

Symphony No.3 in E flat major, Op.55 'Eroica' (1805)



Symphony No.7 in A major, Op.92 (1811)

Click for the 9 Symphonies of Beethoven for Rock and Roll Addicts

Overtures here:

7/16 The Compleat String Quartets for Guitarists and Experimental Music Lovers

Picasso: "Bottle, Guitar, and Pipe" Museum Folkwang, Essen, Germany

I've posted about my sequenced "rock" transcriptions of Beethoven's string quartets a couple times before but this time I've gone back and remixed/remastered them a bit, with some simulated "turntable" visuals.  Basically I added more drums, reverb and compression.  They'll probably still drive any purists insane with cries of sacrilege, but for anybody with a background in rock and avant-garde music approaching my own, these might be entertaining and perhaps even illuminating.

While arranging/transcribing Beethoven's various types of music (quartets, concertos, symphonies, etc...) into these somewhat similar rock arrangements, I could more clearly see the different composing approaches he used between these genres.  The concertos seem the most straightforward from a melodic and structural standpoint, though the solo part gets all the "adventurous" stuff.  The quartets have the most complex and labyrinthine horizontal/melodic material, and the symphonies take a middle ground of having dense vertical constructions but simpler thematic material.  These are just gross generalizations of course...

String Quartet 10 in Eb, Op 74 "Harp" (1809)



String Quartet 11 in Fm, Op.95 "Serioso" (1811)

Full Quartets Below:

Early Quartets: Opus 18

Middle Quartets: Opus 59, 74, 95

Late Quartets: Opus 127, 130, 131, 132, 133, 135

Symphonies tomorrow....

7/15 The Weirdest Piano Concerto Arrangements You'll Love Vol.2

Remember when I posted the "The Weirdest Piano Concerto Arrangements You'll Love Vol.1"? Well here's Volume 2...hope you enjoy listening, these were a blast to put together!

Piano Concerto 1
I: 0:04 II: 12:29 III: 20:32

Link

Piano Concerto 2
I: 0:05 II: 13:15 III: 20:36

Link

Piano Concerto 4
I: 0:04 II: 16:44 III: 20:20

Link

Triple Concerto

Link

Next post is going to be delayed because I'm just BARELY keeping up in these last few mega-posts and Youtube just yanked my unlimited time-limit video rights for no apparent reason - which means I may have to redo a whole lot of already completed videos. Sad face.

7/14 String Quartet Op.59, No.2

http://www.lvbeethoven.com/Lieux/AllemagneLeipzig.html

One more string quartet before the final lap...

String Quartet No.8 in E minor, Op.59, No.2 ('Rasumovsky' 2)
Recorded live at the Taos School of Music, July 22, 2007
Alexandra Osborne, violin; Wojciech Kardewicz, violin; Elizabeth Kuefler, viola; Bronwyn Banerdt, cello

Linklist

Allmusic:
Beethoven began drafting the score of the first of the Opus 59 quartets on May 26, 1806, although there is evidence that he started to sketch them in the fall of 1804; by November 1806, all three were complete. Because Rasumovsky was to have exclusive rights to the pieces for a year, their publication was delayed until January 1808. Beethoven sold the rights to not only the Bureau des Arts et d'Industrie in Vienna, but also to Clementi and Co. in London. As a tribute to Rasumovsky's heritage, Beethoven planned to use Russian folk themes in each of the three quartets, but did so only in the finale of the first and the slow movement of the second. All three are in four movements, the third augmented by a slow introduction to the first movement.

The opening of the first movement of the String Quartet in E minor is actually more evocative of the Symphony No. 3 than it is the beginning of Op. 59/1. Two widely spaced chords introduce the piece, which immediately begins a presentation of the theme. However, the movement lacks the expansiveness of its two siblings, creating a very tight, nervous atmosphere and calling for a traditional repeat of the development section. The prominence of the Neapolitan, both the pitch F natural and the harmony of F major, creates a palpable pathos. The large coda takes a path as harmonically adventurous as the development section.

Carl Czerny (1791-1857), a former student of Beethoven, noted that the composer was inspired to write the slow movement of Op. 59/2, in E major, while contemplating a starry sky. The chorale-like opening of the movement looks forward to the Heiliger Dankgesang, Op. 132. The recapitulation of the hymn-like theme features an active cello line and a second violin part that sails above the first violin's melody.

As in the first movement, the E minor scherzo emphasizes the Neapolitan F major. The Russian theme appears in the E major Trio, where it is given extensive contrapuntal treatment, appearing first in the viola, followed by the second violin, cello, and lastly, first violin.

The finale again flirts with F major, this time primarily through C major (the dominant of F), which is found throughout the first 50 measures. Marked Presto, it is generally light and jovial, featuring a carefree main theme, rather atypical of the composer's style at this time. The second subject leads to a development section, after which the themes reappear to suggest a Rondo. Overall, this movement has much charm and rather parallels in spirit the finale in the previous quartet. This one, however, seems to fit in better with the character of its preceding three movements.

Mily Balakirev's Arrangement of the 2nd movement for solo piano:
Balakirev Centenary Celebrations Concert, Nicholas Walker - Pianist
Mr. Walker also performed the piano arrangement of the Op.130 Cavatina..

Link

Finally. the 1st movement in a guitar arrangement (Oregon Guitar Quartet):
Link

6/27 Bagatelles on Guitar, Hand Cannons

Though I have posted a good chunk of my own sequenced versions of Beethoven's works arranged/transcribed for guitar, there are of course many great live performances - among them this fine set of Bagatelles transcribed and performed by David Pavlovits.

3 Bagatelles:
From 11 Bagatelles, Op.119, No. 4. Andante cantabile (@ 0:00)
From 11 Bagatelles, Op.119, No. 9. Vivace moderato (@ 1:36)
From 7 Bagatelles Op.33, No. 4. Andante (@ 2:21)


Link

What the heck, here's my arrangement of Wellington's Seige arranged for guitar. Adapted from Wellington's Victory, or the Battle of Vittoria op. 91, for Piano and Two Cannons, Hess 97..

(Shootin' starts at 2:45)

Modified and adapted from an original sequence by Mark S. Zimmer from The Unheard Beethoven.

6/24 Paganini's Caprices and Bartok's Mikrokosmos on Guitar

Nicolo Paganini, by Richard James Lane (died 1872), published 1831

Thought I'd divert from Beethoven today to post some of my guitar sequences of Paganini and Bartok...fun stuff (if I do say so myself).

Paganini - All 24 Solo Violin Caprices on Guitar

Linklist (1 hour)

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Bartok on Guitar (and in various "rock-metal" arrangements)

• Scherzo (Arr. for Guitar)
• Allegro Barbaro (Rock Arrangement)
• Mikrokosmos (27 selections arranged for solo Guitar)
• Mikrokosmos 140 - Free Variations (arr. for Guitar & Drums)
• Mikrokosmos 122, 146, 113, 147 (Arr. for Guitar & Drums)
• 3 Piano Works (Arranged for guitar)
• Mikrokosmos 149 - Burgarian Dance 2 (arr. for Guitar & Drums)
• Mikrokosmos 148 - Bulgarian Dance 1 (Arr for Guitar & Drums)
• Mikrokosmos 153 - Burgarian Dance 6 (arr. for Guitar & Drums)

Linklist (1 hour)

6/21 The Weirdest Piano Concerto Arrangements You'll Love Vol.1

“Guitar” (1914) ferrous sheet metal and wire" MoMA © 2011 Estate of Pablo Picasso

The Weirdest Piano Concerto Arrangements You'll Love Vol.1...or perhaps can "Like Eventually"...

After doing rock versions of Beethoven's complete string quartets, I decided that I wanted to hear how his concertos might sound if the lead instrument were a guitar instead of a piano or violin (or cello).  After a few fruitless attempts at incorporation guitar sounds into symphonic arrangements, I tried to do a guitar and synthesizer version.  Despite a good amount of work I finally had to admit that it just didn't sound that good.  Finally I realized that I should go back to my previous idea with the quartets and make full rock band arrangements for these works.  It took a bit more work since I didn't want to lose a single note, but I managed to get everything down to 2 electric guitars, bass and organ (as well as the lead instrument).

Here's Beethoven's Violin Concerto in a "Rock" arrangement.  Electric guitar replaces the violin solo, as well as the 1st violin part.
1 Allegro ma non troppo: from 0:03
2 Larghetto: from 22:03
3 Rondo. Allegro: from 29:18
Guitar Arrangement sequenced by Ed Chang using Synthfont.

Link

And here's Beethoven's 3rd Piano Concerto in a similar arrangement, with acoustic guitar as the soloist and electric guitars in the 1st and 2nd violin roles...
1. Allegro con brio: from 0:03
2. Largo: from 14:24
3. Rondo-Allegro: from 21:49
Guitar Arrangement sequenced by Ed Chang using Synthfont.

Link

Piano Concerto 5...the piano solo is divided into Left Hand -> Acoustic, Right Hand -> Electric
I: 0:03    II: 18:44   III: 25:15

Link

I did arrangements for all of B.'s concertos so I'll put up some more soon....

6/17 All New Beethoven Guitar Hits!

There's nothing more educational (for me, at least) than to post about Beethoven every single day - but a close second would arranging his works for guitar.  Taking a close look at each and every measure and tweaking them to fit in the context, range and style of a guitar is a bit of work - but quite rewarding.  A couple of my recent "experiments" are these two transcriptions: an arrangement of B.'s Symphony 3 "Eroica" 1st Movement (adapted from Franz Liszt's transcription for solo piano) and the Diabelli Variations (using a new guitar sound than my 2 previous versions).  As with my other guitar arrangements these sequenced realizations would  probably be extremely difficult (if not impossible) to play in real life without special tunings, etc...but they sound still pretty cool I think as "virtual extrapolations"...

Symphony 3 "Eroica" for 2 Guitars

Link

The Diabelli Variations for 2 Guitars

Link
Left Side Guitar - TOP                     Right Side Guitar = BOTTOM 
0:04 - Tema : Vivace
0:52 - Variation 1 : Alla marcia maestoso
2:22 - Variation 2 : Poco allegro
3:22 - Variation 3 : L'istesso tempo
4:15 - Variation 4 : Un poco piu vivace
5:03 - Variation 5 : Allegro vivace
5:52 - Variation 6 : Allegro ma non troppo e serioso
7:24 - Variation 7 : Un poco piu allegro
8:40 - Variation 8 : Poco vivace
9:47 - Variation 9 : Allegro pesante e risoluto
11:25 - Variation 10 : Presto
12:24 - Variation 11 : Allegretto
13:40 - Variation 12 : Un poco piu moto
14:45 - Variation 13 : Vivace
15:53 - Variation 14 : Grave e maestoso
19:46 - Variation 15 : Presto scherzando
20:34 - Variation 16 : Allegro
21:39 - Variation 17 : Allegro
22:45 - Variation 18 : Poco moderato
25:10 - Variation 19 : Presto
26:07 - Variation 20 : Andante
27:32 - Variation 21 : Allegro con brio - Meno allegro
28:50 - Variation 22 : Allegro molto ( alla 'Notte e giorno faticar' di Mozart)
29:36 - Variation 23 : Allegro assai
30:25 - Variation 24 : Fughetta ( Andante)
32:52 - Variation 25 : Allegro
33:37 - Variation 26 : Piacevole
34:21 - Variation 27 : Vivace
35:09 - Variation 28 : Allegro
36:11 - Variation 29 : Adagio ma non troppo
37:19 - Variation 30 : Andante, sempre cantabile
38:49 - Variation 31 : Largo, molto espressivo
42:28 - Variation 32 : Fuga (Allegro)
46:07 - Variation 33 : Tempo di minuetto moderato

This is my 3rd try at making a Diabelli Variations guitar recording, I think it's the final version...the previous two are OK but this one has the best guitar sound I think.  Previous versions:

Electric and Acoustic guitars: http://www.youtube.com/watch?v=o0RyJF5Uavo
Acoustic Guitars (1st version): http://www.youtube.com/watch?v=ZTg1GWIiX7w

However, for a live rendition of an arrangement of B.'s 5th Symphony I think this is the guy to beat:
Warning - very loud recording...

Beethoven 「運命」　LUNA KENZO

6/9 Für Elise on Guitar (Twice)

I can't believe I haven't featured a guitar version of Für Elise on this blog yet.  It's such a ubiquitous piece I suppose I avoided it on purpose for most of this past year.  Well anyways, here are 2 wonderful arrangements on guitar performed by 2 excellent guitarists...live.

Transcribed and performed by by Fredrik (FreddeGredde) Larsson:

Link

A more "liberated" performance by ludustestudinis

Link

(FYI: Taking a break from Thursday analysis for a few weeks)

5/17 Beethoven for Mandolin Lovers

Some of Beethoven's least known works are his works for mandolin (or guitar) and piano (or cembalo)...

Allmusic:

In 1796, Beethoven wrote four pieces for piano and mandolin—Sonatina WoO. 43a, an Adagio in E flat, WoO. 43b, and a Sonatina and Andante con Variazioni for piano & mandolin in D major, WoO. 44a and WoO. 44b, respectively. It appears that all four pieces were composed for the Countess Josephine de Clary. She would later become Countess von Clam-Gallas, and it would be in the library of her husband  that the manuscripts of these four unusual works would be found.

This WoO. 43a Sonatina is a minor composition by the composer. It is delightful and colorful in its lightness, and, for its instrumentation, it is certainly a worthwhile effort. WoO 44a is a single-movement rondo. The mandolin leads a dashing rondo theme, pausing for breath only in the contrasting episodes. If you didn't know any better you'd think you were listening to bluegrass. The harpsichord or piano accompanies throughout, occasionally imitating a phrase of the mandolin's.

Here's a good selection I 'plucked' out of the YT ether...
1. WoO 43b - Adagio ma non troppo (Live)
2. WoO.44a - Sonatina in C (Rondo) (Live)
3. "The Ruins of Athens" mandolin duet (RANIERI "L'Art de la Mandoline") (Live)
4. WoO.43a - Sonatina in Cm
5. WoO.44b - Andante con variazioni in D

Linklist

4/8 Tarrega Beethoven Transcriptions

Francisco Tarrega was one of the Romantic period's greatest composers for guitar and had a major influence on the classical guitar's presence in the 20th Century. He also composed the Nokia ringtone.

As far as Beethoven is concerned, Tarrega transcribed several of Beethoven's works - especially piano - to classical guitar. As a guitarist myself I've spoken here before of how I wished B. had written more music for guitar, and fortunately Tarrega must have felt the same way.

Here's a good selection of Tarrega's Beethoven transcriptions I found on hydraTV's YT channel:
1. Piano Sonata No. 14 in C sharp minor ("Moonlight"), Op. 27/2 Adagio sostenuto
2. Septet for strings & woodwinds in E flat major, Op. 20 Menuet
3. Symphony No. 7 in A major, Op. 92 Allegretto
4. Piano Sonata No. 12 in A flat major ("Funeral March"), Op. 26 Marcha fúnebre
5. Piano Sonata No. 2 in A major, Op. 2/2 Scherzo
6. Piano Sonata No. 8 in C minor ("Pathétique"), Op. 13 Adagio cantabile
7. Septet in Eb for Violin, Viola, Clarinet, Horn, Oboe, Cello & Bass, Op.20 (1799) M4: Theme
8. """" - Variation 7
9. Violin Sonata No. 9 in A major ("Kreutzer"), Op. 47 Andante
10. Minuets (6) for piano (or orchestra), WoO 10 Minuet No. 3
P11. Piano Sonata No. 4 in E flat, Op. 7 Largo con gran espressione
(Performed by Timo Korhonen)

Linklist (43 min)

As a bonus "cover", here's the 7th Symphony 'Allegretto' (yet again) performed on harmonica ensemble...

Beethoven Symphony No. 7 mvt. 2 ( Harmonica )

4/1 Squeezed, Stretched and Webernized Beethoven

Well, being that today is April Fool's Day, I feel somewhat less inhibited than normal to post some of my more outlandish Beethoven "experiments"...

Last week, while working on my exotic percussion version of the 32 Variations in C minor WoO.80, I accidentally mapped the midi pitch data from the drum tracks to the guitar track, and when I replayed the sound file I thought...hmmmm, very "Webernian". Anyways, beyond the technical stuff, this is not "12-tone" in any way that is on purpose - it's just a bit of "chance-generated" fun and I'm pretty sure it would fool my mother if I told her it was by Webern...
An Atonal Variation on Beethoven's 32 Variations on an Original Theme
(Acoustic Guitar and Percussion Soundfonts)
Visuals by Malinowsky MAM Player

If Beethoven was Reborn as Webern

Another little oddity I put together is this ridiculously sped up version of the Moonlight Sonata.  I actually prefer the Moonlight Sonata to be played as slowly as possible, but increasing the speed to 1500 beats per minute and changing the sound to "guitar harmonics" yields something that might have come from the episode of Star Trek where the aliens were living at super-fast speed.
Moonlight Sonata at 1500 BPM on Guitar

Moonlight Sonata at 1500 BPM on Guitar

On the other end of the "time" spectrum is this version of the 9th Symphony.  A composer decided to digitally stretch out the 9th Symphony to the length of 24 hours.  The pitches all remain the same - but the durations of each note are lengthened proportionately so that the entire work (normally 75 minutes) is stretched to 24 hours. Here's a sampling, uploaded to Youtube by YT-er duckieforever.

Duckieforever says: "The music is astounding, and ethreal, and beautiful. I just can't really say it any other way besides that. It's not like anything that I've ever heard in my life. But, for once, I think that after hearing the music rendered this way, I understand it more completly. It may not be what any of you enjoy, but I just ask that you open your minds, take a small breath, and relax."

A Total Beethoven Experience

For more on this work and accounts from attendees of a "performance" of this 24 hour version, check out the below link where you can find a Radiolab Radio podcast about it. (Direct mp3 link HERE)
Time - Radiolab

3/10 String Quartet Op.133 "Grosse Fuge" (Color Analysis and Rock Arr.)

Yesterday was the color chart/video of Opus 130, and since the Grosse Fugue was originally the grand finale of Opus 130 it seems necessary to put up Mr. Rich's color breakdown of this crazy and fun behemoth.  I think this is like the 2nd or 3rd analysis of the G.F. I've posted, but this one is pretty much all from Alan Rich's book, "Play by Play".  Personally I like my own analysis better, his is a little too simplified for my tastes, but I learned alot from his....

String Quartet Op.133 "Grosse Fuge" (1826)
Guarneri Quartet


Overture (MAROON)
1st Theme
2nd Theme
3rd Theme
4th Theme

Part I: fugue (based on 4th Theme): (BROWN)
Entrance 1
Entrance 2
Entrance 3
Entrance 4
Exposition (partial)
Variations on subject
Exposition (partial)
Exposition (variations on subject)

Part II: (BLUE)
3rd Theme (return)
3rd Theme (several fugue-like entrances)
3rd Theme (fragments)
3rd Theme (variation)

Part III: (VIOLET)
2nd Theme (return)
2nd Theme: fugue
2nd Theme: fugue (abridged)
2nd Theme (variation)
2nd Theme (further variation)

Part IV: (SEA GREEN)
3rd Theme (return)
Transition

Part V: (DARK BLUE)
2nd Theme (return)
2nd Theme (development)
1st Theme (return)

Part VI: fugue (based on part I) (OLIVE)
1st Theme (return)
Part I (variation)

(form breakdowns from Alan Rich's "Play by Play")

Rock Arrangement:

3/9 String Quartet Op.130 (Color Analysis and Rock Arr.)

Beethoven's String Quartet Opus 130 has the distinction of having had the "Grosse Fuge" as it's original ending, and then having that shortly replaced with a new final movement, which also happens to be B.'s last completed work.  For those reasons it's very much an "omega" work.  One thing that always amazes me about the new finale is that it's so joyful and "peppy".  At this time B. must have suspected that he wouldn't live much longer - he was trying to recover from a long-term illness during it's composition.  Also he was completely deaf, and his nephew Karl had just tried to commit suicide, blaming B. for driving him to such an extreme.  He was staying at his brother Johann's with whom he had had many rows, composing a work in response to public rejection of one of his most ambitious works.  It could not have been a happy time.  Nonetheless, the music of this "replacement movement" is vivacious.  I wonder if composing such contrary music was a method of self-therapy?  Let there be Light!

String Quartet Opus 130 (Final Version)
Guarneri Quartet
I. Adagio ma non troppo (0:00)
II. Presto (D♭) (13:40)
III. Andante con moto ma non troppo (B♭ minor) (15:36)
IV. Alla danza tedesca. Allegro assai (G) (23:01)
V. Cavatina. Adagio molto espressivo (E♭) (26:47)
VI. Finale. Allegro (33:50)

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CHANNEL LINK (Click here to see this video on my YT Channel.  Once there, click on "(more info)" and then you can view the video in place, while scrolling through the text below)

I. Adagio ma non troppo/Allegro

--Exposition:

• Introduction, part I (BROWN)
• Introduction: part II
• 1st Theme, part I (MAROON)
• 1st Theme, part I (return)
• 1st Theme, part II
• 2nd Theme (DARK BLUE)
• 2nd Theme: development
• 3rd Theme (OLIVE)

--Exposition (Repeat):

• Introduction, part I (LIGHT BROWN)
• Introduction: part II
• 1st Theme, part I (LIGHT MAROON)
• 1st Theme, part I (return)
• 1st Theme, part II
• 2nd Theme (LIGHT BLUE)
• 2nd Theme: development
• 3rd Theme (LIGHT OLIVE)

--Development: 

• First part: based on Introduction (VIOLET)
• Second part: based on 1st Theme

--Recapitulation:

• 1st Theme, part I (MAROON)
• 1st Theme, part II (variation)
• 2nd Theme (variation) (DARK BLUE)
• 2nd Theme (return)
• 3rd Theme (return)
• Coda (VIOLET)

II. Presto (starting from 13:40)

• A (GREEN)
• B (BLUE)
• Transition (PURPLE)
• A (Return) (GREEN)

III. Andante con moto ma non troppo (starting from 15:36)

Exposition

• Introduction (BROWN)
• 1st Theme (MAROON)
• Transition (OLIVE)
• 2nd Theme (BLUE)
• 1st Theme (Variation) (MAROON)
• 3rd Theme (VIOLET)

Exposition Repeat

• Introduction (LIGHT BROWN)
• 1st Theme (LIGHT MAROON)
• Transition (LIGHT OLIVE)
• 2nd Theme (LIGHT BLUE)
• 1st Theme (Variation) (LIGHT MAROON)
• 3rd Theme (LIGHT VIOLET)

• Coda (OLIVE)
• 3rd Theme (VIOLET)
• 3rd Theme: Development

IV. Alla danza tedesca: Allegro assai (starting from 23:01)

A: 

• 1st Theme, part I (BLUE)
• 1st Theme, part II (LIGHT BLUE)

B: 

• 1st Theme (GREEN)

A:

• 1st Theme, part I (BLUE)
• 1st Theme, parts I and II (variation) (LIGHT BLUE)
• 1st Theme, part I (BLUE)
• 1st Theme, part I (fragmented variation) (LIGHT BLUE)

V. Cavatina: Adagio molto espressivo (starting from 26:47)

1st Theme, part I (GREEN)

1st Theme, part II

1st Theme (return)

2nd Theme (BLUE)

2nd Theme (return)

3rd Theme (VIOLET)

1st Theme, part I (return) (GREEN)

1st Theme, part II (return)

VI. Finale, Allegro (starting from 33:50)

Exposition

• 1st Theme (MAROON)
• 2nd Theme (BLUE)
• 3rd Theme (GREEN)

Exposition Repeat

• 1st Theme (repeat) (MAROON)
• 2nd Theme (repeat) (BLUE)
• 3rd Theme (repeat) (GREEN)

Development (PURPLE)

Recapitulation

• 1st Theme (return) (LIGHT MAROON)
• 2nd Theme (return) (LIGHT BLUE)
• 3rd Theme (return) (LIGHT GREEN)
• Development (return) (LIGHT PURPLE)

• Coda (BROWN)

(form analysis from Alan Rich's "Play by Play")

And finally my sequenced "Rock" arrangement for those who like guitars, organ, bass and drums...if you're ambitious you could theoretically play both at the same time...maybe not.

 I. 0:04, II. 11:13, III. 13:17

IV. 19:00, V. 21:50,  VI. 29:01

3/4 "Learn to play Beethoven's 5th on Guitar" / Quartets V2

Beethoven seems to inspire many guitarists.  After piano, there are probably more amateur guitar performances of B.'s music than on any other solo instrument.  In fact, on Youtube there are over 7,000 videos featuring Beethoven's music on guitar...  I suspected that there might be alot but I was staggered to find the actual number.   Recently I came across a few ensemble guitar performances which stand out in some way I think....this batch concentrates specifically on the 5th Symphony.  Feel free to, uhh, skip to the next track if you feel the need  ;)

• 1. Kid playing the 5th in a surf band (Takeshi "Terry" Terauchi Arr.)
• 2. Drummer showcase of the 5th, probably my favorite of this genre
• 3. Acoustic guitar orchestra arrangement of the 5th
• 4. Salsa Arrangement by Sverre Indris Joner
• 5. "Wave Invasion" surf medley using Fur Elise, 5th S, Ode to Joy
• 6. Ruthie Bram's exuberant guitar solo to the 5th
• 7. Taiko Game version (surprisingly entertaining)
• 8. Symphony 6 "Pastoral" performed by "Sharp 5" (psych/pop version '71)
• 9. Beethoven can save the Climate

Playlist

This seems like an appropriate post to mention that I re-uploaded my rock-sequenced arrangements of Beethoven's 17 string quartets of last year with MAM Player visualizations - here's the main text I wrote for each of these vids on Youtube...

String Quartets (Rock Arr. w MAM Visuals)

Guitar Arrangement by Ed Chang using Synthfont.

Visuals from Stephen Malinowski's MAM Player

Original MIDI sequences : www.stringquartets.org

Boilerplate: These tracks were originally created for my own use to understand Beethoven's string quartets. As an electric guitarist, I "hear" guitar and drums better than violin, so these helped me to follow the different melodic and harmonic turns that Beethoven used in these frankly still-revolutionary works. Weird syncopations and awkward double-stops and trills on violin sound even more exciting and shocking in today's musical vernacular IMHO, and when you add 'Chad Wackerman-style' drums doubling the bass melodies it gets pretty close to fusion/technical metal - tho the most complex metal you'll ever hear.

Of course these are generated from MIDI sequences and triggered soundfonts (samples) so there's a little bit of a "suspension of disbelief" necessary. However if you like Squarepusher, Meshuggah, Alec Empire, Merzbow, or even Nine Inch Nails, then the "oddness" might not require much of a leap - I quite like the "gunny-glitchy" parts myself and decided not to fix them. There were many things I could have done to make these more "real" (for example alternating dynamics on up/down strokes for fast passages, and modifying sustain envelopes on long notes, etc...) but I'll leave that to some one with more patience than I....

About the visuals: YT-er Smalin has been making visual scores of classical music for a few years now and when he made a "home-use" software version I was all over it. The only problem was that in it's current version it doesn't support soundfonts and does not render to video. Nonetheless I LOVE these visual representations and they are the closest approximation to what I see in my mind's eye when listening to instrumental music. I ended up rendering the audio on Synthfont, screencasting the MAM Player with CamStudio, and syncing them up in WMM. Obviously just one step above recording these on a cellphone, but that's what it is for now. Smalin will hopefully release a new version of the MAM Player with rendering options in the coming year(s)...

And here's the playlists for all of the re-envisioned 17 String Quartets arranged for "Rock Ensemble":
Early Quartets (Op. 18)
Middle Quartets (Op. 59, 74, 95)
Late Quartets (Op. 127, 130, 131, 132, 133, 135)

3/3 Missa Solemnis (Color Analysis and Rock Arr.)

The Missa Solemnis ("Solemn Mass") in D from 1823 was a work Beethoven himself hailed as his "greatest" - at least until the 9th Symphony came along. I'm not going to go much more into background - I have alot of typing ahead of me...it's epic and sublime should be heard live at least once in a lifetime, preferably in the 2nd row center seats.  Worth it at any price.

Missa Solemnis in D, Op.123 (1823)
Sir Colin Davis, LSO

0:00    I.   Kyrie

11:07   II.  Gloria

30:01   III. Credo

52:32   IV.  Sanctus / Benedictus

1:09:41 V.   Agnes Dei

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CHANNEL LINK: Click here to see this video on my YouTube Channel. Once there, click on "...(more info)" to scroll through the text description while the video stays in place.

I...-Kyrie - Assai sostenuto (starting from 0:00)

Part I (MAROON): 1st theme: orchestra: D major

2nd theme: orchestra (solo clarinet): G major

3rd theme: orchestra

1st theme: chorus: “Kyrie" / 2nd theme: tenor solo: "Kyrie"

3rd theme: alto solo/chorus:"Kyrie eleison"

4th theme (variation of 3rd theme): chorus (in canon): “Eleison"

Part II (GREEN): andante assai ben marcato: solo quartet:“Christe": B minor

Chorus: "Christe"

Variation: chorus/solo quartet:"Christe"

Part I (return) (MAROON) : 1st theme:orchestra

1st theme (return): chorus/solo quartet: ”Kyrie"

5th theme: chorus: "Eleison"

1st theme (final variation):chorus

II...-Gloria - Allegro vivace (starting from 11:07)

Part I (BROWN): orchestra: 1st theme: D major

1st theme: chorus: “Gloria”

2nd theme: chorus: ”In Excelsis”

1st theme: chorus: "Gloria"

3rd theme: bass chorus: ”Et in terra"

1st theme (variation): chorus: ”Laudamus te"

4th theme: chorus:”Glorificamus": D major

4th theme (variation):chorus: ”Glorificamus": G major

Part II (GREEN): meno allegro: 1st theme: orchestra/chorus/solo:”Gratias"

1st theme (variation): chorus:"Gratias”

1st theme (variation of 1st theme, part I) (BROWN): ”Domine” E flat major

2nd theme: solo quartet:"Domine fili"

3rd theme: chorus: "Domine deus" F major

(Qui tollis - Larghetto, BLUE) Development: orchestra

1st theme: solo quartet: ”Qui tollis": F major

1st theme (answer): chorus:”Miserere", Soloists

1st theme (variation): chorus "Qui tollis": D major, Soloists

2nd theme: chorus/solo quartet: ”Qui sedes": B flat major

3rd theme: solo quartet:“Miserere”

(Quoniam - Allegro maestoso, MAROON) Part I: 1st theme: orchestra

1st theme: chorus:"Quoniam": D major

2nd theme: chorus: “Cum sancto”

Part II: allegro ma non troppo:fugue, PURPLE: 1st theme: chorus:"In gloria”

1st theme (variation): solo quartet/chorus: ”In gloria"

1st theme (variation, condensed fugue): chorus:"In gloria"

Part III (GREEN): poco piu allegro: solo quartet: "Amen": D major

Part IV: presto (return of 1st theme from GLORIA) (BROWN):"Gloria"

III...-Credo I - Allegro ma non troppo (starting from 30:01)

1st theme: orchestra/chorus:"Credo": B flat major (BROWN)

1st theme (return): chorus:"Credo"

2nd theme: chorus: “Deum de deum”: G major

3rd theme: chorus:”Consubstantialem"

4th theme: chorus: "Qui propter nos homines"

5th theme: chorus:"Descendit"

(Et incarnatus est - Adagio, BLUE) 1st theme: chorus/solo quartet: ”Et incarnatus"

2nd theme (development):andante: chorus/tenor solo:“Et homo"

3rd theme: adagio espressivo:solo quartet: "Crucifixus"

4th theme: quartet/chorus:"Passus": sequence of keys

5th theme (development):allegro: chorus: ”Et resurrexit"

6th theme: chorus: ”Et ascendit": C major

7th theme: chorus:"Judicare": sequence of keys

1st theme (variation): chorus:”Cuius regni"

(Credo II - Allegro ma non troppo, GREEN) Part I: 1st theme (variation of 1st theme, CREDO I): chorus:"Credo"

Part II: allegretto ma non troppo: 1st theme: chorus:“Et vitam"

Part III: allegro con moto: 1st theme (variation of part II):“Et vitam"

Part IV: grave: 1st theme:chorus/solo quartet: “Et vitam": B flat major

IV...-Sanctus/Benedictus (starting from 52:32)

(Sanctus - Adagio, BROWN) Part I: 1st theme: orchestra: Dmajor

1st theme: solo quartet:"Sanctus"

1st theme (return): solo quartet: “Sanctus”

Part II (OLIVE): allegro pesante: chorus: ”Pleni sunt”: D major

Part III (BLUE): presto: 1st theme:chorus: ”Osanna"

(Preludium/Benedictus - Sostenuto, PURPLE) Introduction: orchestra

Solo violin entrance

1st theme (MAROON): chorus bass/solo violin: ”Benedictus"

2nd theme: solo alto/bass (BLUE): "Benedictus”: G major

2nd theme: solo soprano/tenor: “Benedictus”

3rd theme (MAROON 2): chorus: ”In nomine"

2nd Theme (variation) (BLUE): solo quartet: "Benedictus"

3rd Theme (variation) (MAROON 2): chorus "In Nomine"

1st Theme (variation) (MAROON): solo quartet:"Qui venit"

4th theme (GREEN): chorus "Osanna" G major

V...-Agnus Dei - Adagio (starting from 1:09:41)

1st theme (MAROON): orchestra/bass solo: "Agnus dei": B minor

2nd theme (BROWN): orchestra/chorus: "Miserere"

1st theme (variation): alto/tenor solo: “Agnus"

2nd theme (variation): alto solo/chorus: "Miserere”

1st theme (variation): solo quartet: “Agnus"

2nd theme (variation):chorus/solo quartet:”Miserere"

(Dona nobis pacem - Allegretto vivace, BLUE) 1st theme: chorus: "Dona nobis": A major

2nd theme: chorus:”Pacem": D major

3rd Theme:chorus:"Dona nobis"

4th theme (variation of 3rd theme): chorus/soprano solo: "Dona"

(Agnus dei - Allegro assai, GREEN) Part I: Development: orchestra

Development (quasi-recitative): solo quartet:"Agnus dei"

1st theme (variation of 1st theme, DONA NOBIS PACEM): quartet:"Dona nobis"

2nd theme (variation of 3rd theme, DONA NOBIS PACEM): chorus:"Dona nobis"

3rd theme (variation of 4th theme, DONA NOBIS PACEM):chorus/solo quartet: “Dona nobis”

Part II (VIOLET): presto: orchestra: D Major

Development: chorus: ”Agnus"

1st theme: chorus/solo quartet: ”Dona nobis": B flat major

Part III (BROWN): 1st theme (variation of 1st theme, DONA NOBIS PACEM):quartet: "Dona"

2nd theme (variation):chorus: ”Dona nobis": D major

3rd theme: solo quartet:“Pacem"

4th theme: chorus: ”Pacem" D Major

5th theme (variation of 3rd theme, DONA NOBIS PACEM): chorus:"Dona nobis"

Breakdowns quoted directly from Alan Rich's book, Play by Play.  Usually I go through each section and "vet" each of Mr. Rich's sectional breakdowns, since I try to clarify things a bit more (at least for me) but for this one I frankly just did a straight copy.

For more, here's a superb website devoted to the Missa Solemnis :
http://www.its.caltech.edu/~tan/BeethovenMissaSolemnis/missa_solemnis.html

Ah yeah - almost forgot to tack on one more >ahem< "rockified remix"...
Gloria:

2/24 Beethoven's Mass in C (Color Analysis and Rock Arr.)

Beethoven's Mass in C from 1812 is not as popular as the monumental Missa Solemnis from 1823, but it's actually a big favorite with me. It was originally composed for Papa Haydn's old boss, but apparently Prince Nikolaus Esterházy II didn't clap loudly enough and our man B. stormed out in a fury... Frankly I find it's brazen modulations and fiery dynamics to be a kind of "punk-rock" cousin to the Missa...it's shorter and faster and the orchestration seems to me to be a bit leaner.

Mass in C for Solo, Chorus and Orchestra Op.86 (1812)
Sir Colin Davis with the LSO and Chorus
0:00 1. Kyrie
5:54 2. Gloria (Qui tollis – Quoniam)
16:34 3. Credo
29:00 4. Sanctus (Benedictus – Osanna)
40:36 5. Agnus Dei (Dona nobis pacem)
This work has so many sections that it might be hard to keep the video and the breakdowns all on the same page...may be best to get 2 computers side by side for this post ;)

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CHANNEL LINK: Click here to see this video on my YouTube Channel. Once there, click on "...(more info)" to scroll through the text description while the video stays in place.
 
I. (starting 0:00)
Kyrie - Andante con moto

1st Theme: chorus: "Kyrie": C Major (BROWN)

2nd Theme: soprano solo: "Kyrie" (GREEN)

2nd Theme: solo qrtt/chorus: "Kyrie" (GREEN)

3rd Theme: solo qrtt: "Christe" (BLUE)

(1st Theme variation (chorus: "Kyrie"): E Major  2:55) (BLUE)

2nd Theme (repr.): soprano solo: "Kyrie" (GREEN)

II. (starting 5:54)
Gloria - Allegro con brio (BLUE)

1st Theme: chorus: "Gloria" C Major

2nd Theme: chorus: "Bonae voluntatis" A minor

3rd Theme: tenor solo/chorus: "Gratias agimus" Bb Major

Qui Tollis - Andante mosso (GREEN)

1st Theme: alto solo/chorus: "Qui Tollis" F minor

1st Theme: solo qrtt: "Qui Tollis"

2nd Theme: chorus: "Qui sedes"

Quonium - Allegro ma non troppo

1st Theme: orchestra: C Major (BLUE)

1st Theme: chorus: "Quoniam" (BLUE)

2nd Theme: Fugue: chorus: "Cum Sancto" C Major (MAROON)

Text Painting: solo soprano/chorus: "Amen" (PURPLE)

III. (starting 16:34)
Credo - Allegro con brio
1st Theme: chorus: "Credo" C Major (MAROON)
2nd Theme: chorus: "Factorum" (sequence of keys) (BLUE)

1st Theme variation: chorus: "Et in unum" (MAROON)

3rd Theme: chorus: "Ante omnia" (BLUE)

4th Theme: chorus: "Deum de deo" Eb Major (BLUE)

5th Theme: chorus: "Consubstantialem" Eb Major (BLUE)

6th Theme: tenor/bass solo: "Qui propter nos homines" (BLUE)

Et incarnatus est - Adagio, Part 1 (VIOLET)

1st Theme: solo qrtt: "Et incarnatus" Eb Major

2nd Theme: chorus: "Crucifixus" Bb minor and sequence of keys

3rd Theme: solo qrtt: "Passus"

Part 2 - Allegro ma non troppo (PURPLE)

1st Theme: Bass solo/chorus" "Et ascendit" D Major

2nd Theme: chorus: "Sedet" C Major

3rd Theme: chorus: "Cujus regni" G Major

4th Theme: solo qrtt: "Et in spiritum"

5th Theme: chorus: "Qui locutus est" C Major

Part 3 - (DARK BLUE)

Fugue: chorus: "Et vitam" C Major

Fugue variation: alto solo: "Et vitam" A Major

IV. (starting 29:00)
Sanctus - Adagio

1st Theme: orchestra A Major (MAROON)

1st Theme: chorus: "Sanctus" (MAROON)

2nd Theme: allegro: chorus: "Pleni sunt coeli" D Major (MAROON 2)

3rd Theme: chorus: "Osanna in excelsis" (MAROON 3)

Benedictus - Allegretto ma non troppo (BLUE)

1st Theme: solo qrtt: "Benedictus" F Major

2nd Theme: solo qrtt: "Qui venit"

3rd Theme: quartet/chorus: "Benedictus" C Major

(4th Theme: solo qrtt: "Benedictus" F Major 35:25)

1st Theme variation: solo qrtt: "Benedictus" F Major

5th Theme (reprise of Sanctus 3rd Theme): chorus: "Osanna"

V. (starting 40:36)
Agnus Dei - Poco andante
1st Theme: chorus "Agnus dei" (OLIVE)
2nd Theme: chorus: "Miserere" (BLUE)

1st Theme variation: chorus: "Agnus dei" (OLIVE)

2nd Theme variation: chorus: "Miserere" (BLUE)

3rd Theme: solo qrtt: "Dona nobis" (BLUE)

4th Theme: chorus: "Miserere" (BLUE)

5th Theme: chorus: "Pacem" (BLUE)

(breakdowns from Alan Rich's book, Play by Play!!).

Recall when I mentioned this work being like "punk-rock"?  Welll.....

2/18 Moonlight Milk Sonata / Toy Piano / 100 Days Revisited

Artist Sara Naim did a fascinating experiment with photographing milk at high speed while playing Beethoven's Moonlight Sonata through the milk - resulting in these vibratory snapshots.  Some really cool pictures and a very unique way of visually representing the abstract narrative of a piano sonata. 
From Sara Naim's website:

Beethoven - Moonlight Sonata: "This body of work looks at translating sound into a photographic image. Ludwig Van Beethoven’s sonata vibrates through milk. He composed this piece in the early 1800’s for his blind pupil and lover, Giuletta Gucciardi. Gucciardi said to Beethoven that she wished she could see the moonlight. Beethoven then composed a piece about the moonlight’s reflection off Austria’s Lake Lucerne, called Moonlight Sonata."

The stuff about Lake Lucerne and Giuletta Gucciardi is not exactly corroborated by recorded facts, but it's a nice thought I guess...anyways the images are the thing.

Another unique take on the Moonlight Sonata is this performance adapted for "Toy Piano" by specialist Margaret Leng Tan. I'm actually more familiar with Ms Tan's work as a performer of John Cage's works, so this is quite surprising and a little odd. What's even odder is that Cage hated Beethoven - one assumes John Cage is rolling in his grave ;)


There are boatloads of videos of the Moonlight played on acoustic and electric guitar and most of them are well...frankly, not particularly interesting, but this one by Michael Lucarelli stands out as a fine transcription in its own right (and a fine video production as well):



If you're interested in hearing what the Moonlight Sonata sounds like on electric guitar after it's been sped up to 1500 bpm (from its original tempo of 40 bpm)...click below...

Beethoven - Moonlight Sonata at 1500 BPM on Guitar

It's pretty out there ;)

Finally, to round out a light Friday post, here's an update to an older post where I mentioned Jessica Svendsen's 100 Days Project - she's DONE! 
From Ms. Svendsen's website: "Every day for 100 days, I created a variation on a Josef Müller-Brockmann poster for a Beethoven concert in Zürich in 1955. This project was part of the Michael Bierut 100 Days Workshop at the Yale School of Art."

I really liked her designs, so much so that I threw them into my video editing software and generated a quick video using the Coriolan Overture (conducted by Dmitri Mitropoulos).  The poster itself is for a Coriolan Overture performance by Carl Schuricht, but I don't have that particular one handy, oh well....

100 Days Website

2/14 Ode to My Hammer-guitarre, or "If Beethoven Played the Guitar Edition 99"

As an experiment, I used my handy MIDI-switchblade to switch a few voices in the 4th Movement of Beethoven's 9th Symphony...I was curious to hear the Ode to Joy on a purely harmonic and melodic level without the beautiful text - so goodbye vocal soloists and choir, hello guitars! I also left out the first section (instrumental overture) since it had no vocals (guitar material). For visuals I decided to make the whole thing a tribute to my guitar - it is Valentine's Day after all ;) .
(Picture effects are from befunky.com)
Symphony 9 Movement 4 "Ode to Joy with Guitar samples 

http://www.youtube.com/watch?v=5qR6uNNrxGE

I also took the "liberty" of arranging the Hammerklavier Piano Sonata for electric guitars...another MIDI-sourced Synthfont-assisted musical Frankenstein. Interestingly, right after I rendered the audio file, the program crashed...maybe Ludwig is trying to tell me something?
The "Hammer-Guitarre" Sonata arrangement of Beethoven's Opus 106

I   0:06 

II  12:51 

III 15:05 

IV  28:40

I actually did an earlier video-rendition (music is the same) using spectrum analysis instead of the Malinowski MAM Player - that can be found HERE.