Showing posts with label Perlman. Show all posts
Showing posts with label Perlman. Show all posts

Thursday, February 17, 2011

2/17 Kreutzer Sonata (Color Analysis)

Another re-visit to Beethoven's ever-fascinating Kreutzer Sonata for Violin and Piano: as with the Moonlight Sonata last week, I've posted an analysis of the 1st movement before but not of all 3 parts so here goes...

Violin Sonata No.9 Op.47 'Kreutzer' (1803)
Piano: Vladimir Ashkenazy / Violin: Itzhak Perlman
0:00 - I. Adagio Sostenuto - Presto
11:49 - II. Andante con Variazioni I - IV
28:17 - III. Finale. Presto

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)

Movement I, Adagio Sostenuto - Presto
Introduction
1st Theme (Violin) (LIGHT PURPLE)
1st Theme (Piano) (LIGHT PURPLE)
2nd Theme (LIGHT BLUE)
Exposition
1st Theme (MAROON)
2nd Theme (BROWN)
1st Theme Variation (MAROON)
3rd Theme (from 1st Theme) (GREEN)
Development
3rd Theme (BLUE)
2nd Theme from Introduction (LIGHT BLUE)
Recapitulation
1st Theme (MAROON)
2nd Theme (BROWN)
1st Theme Variation (MAROON)
3rd Theme (GREEN)
Coda (DARK BLUE)
1st Theme
1st Theme Development
1st Theme Finale

Movement II. Theme and Variations (starting at 11:49)
1st Theme w Piano (BLUE)
1st Theme w Violin (VIOLET)
1st Variation (BROWN)
2nd Variation (GREEN 1)
3rd Variation (GREEN 2)
4th Variation (GREEN 3)
Transition (DARK BROWN)
5th Variation (MAROON)
Coda (VIOLET 2)

Movement III. Presto (starting at 28:17)
Exposition
1st Theme A (MAROON 1)
1st Theme B (MAROON 2)
1st Theme C (MAROON 3)
2nd Theme (BLUE)
3rd Theme (from 1st Theme) (LIGHT BROWN)
Exposition Repeat
1st Theme A (MAROON 1)
1st Theme B (MAROON 2)
1st ThemeC (MAROON 3)
2nd Theme (BLUE)
3rd Theme (from 1st Theme) (LIGHT BROWN)
Development - 1st Theme (PURPLE)
Recapitulation
1st Theme A (minor) (MAROON 1)
1st Theme B (MAROON 2)
1st ThemeC (MAROON 3)
2nd Theme (BLUE)
3rd Theme (from 1st Theme) (LIGHT BROWN)
Coda
Entrance (BLUE 1)
Adagio (variation of 1st Theme) (BLUE 2)
1st Theme final Development (BLUE 3)
(breakdowns from Alan Rich's book).
Additionally, here's a link to a performance of the 2nd movement by Efram Zimbalist and Harold Bauer from 1926!!
Beethoven "Kreutzer Sonata" Zimbalist-Bauer Rec.1926

Thursday, February 3, 2011

2/3 Beethoven's "Spring" Violin Sonata (Color Analysis)

Time for another visual breakdown of a Beethoven work, this time Violin Sonata No. 5 in F major, Opus 24 "Spring" (1801).  I know I posted a Mutter/Orkis rendition before so this one will be by Perlman/Ashkenazy.  I need to get to those early violin sonatas one of these days....

Violin Sonata No. 5 in F major, Opus 24 "Spring" (1801)
Piano: Vladimir Ashkenazy / Violin: Itzhak Perlman
0:00 - I. Allegro
9:49 - II. Adagio molto expressivo
16:17 - III. Scherzo, allegro molto
17:32 - IV. Rondo, Allegro ma non troppo

Channel Link

Movement I. Allegro
Exposition
1st Theme (MAROON)
2nd Theme (BLUE)
3rd Theme (TAN)
Exposition Repeat
1st Theme (MAROON)
2nd Theme (BLUE)
3rd Theme (TAN)
Development (PURPLE)
Part 1 - on 1st Theme
Part 2 - on 2nd Theme
Recapitulation
1st Theme (MAROON)
2nd Theme (BLUE)
3rd Theme (TAN)
Coda (GREEN)

Movement II: Adagio molto expressivo (starting at 9:49)
1st Theme (piano) (MAROON)
1st Theme (violin)
2nd Theme (BLUE)
1st Theme Variation (piano) (MAROON 2)
1st Theme Variation (violin)
2nd Theme Variation (violin) (BLUE 2)
2nd Theme Variation (piano)
1st Theme Development (BROWN)

Movement III: Scherzo, Trio (starting at 16:17)
Scherzo (BROWN)
Trio (OLIVE)
Scherzo Repeat (BROWN)

Movement IV: Finale (starting 17:32)
Exposition
1st Theme (MAROON)
2nd Theme (OLIVE)
3rd Theme (GREEN)
Development
1st Theme (Var 1) (MAROON LIGHT)
2nd Theme (Var 1) (OLIVE LIGHT)
Transition (BLUE)
Recapitulation
1st Theme (Var 2) (MAROON)
2nd Theme (OLIVE)
3rd Theme (GREEN)
Development 2
1st Theme (Var 3) (MAROON LIGHT)
2nd Theme (Var 2) (OLIVE LIGHT)
Coda (2nd Theme) (OLIVE)

(timings were assisted by Alan Rich's "Play by Play" book.

Monday, December 6, 2010

12/6 Schubert Loses his Cool. Trout. Ghost..

The famous composer Franz Schubert was a big fan of Beethoven's.  Here are some interesting reports of his relationship with Beethoven according to Anton Schindler:
It was a dark day for Franz Schubert when, in 1822, he called on Beethoven to present a copy of the Piano Variations for Four Hands which he had dedicated to the master. Despite the company of Diabelli, who acted as the interpreter of Schubert’s sentiments for the master at the meeting, the shy and taciturn young composer played a role disagreeable to everyone including himself. His courage, which had held fast as far as the house, deserted him completely at the sight of His Musical Majesty. And when Beethoven expressed the wish that Schubert himself should write down the answers to his questions, the latter’s hand seemed to be chained. Beethoven looked through the copy hastily and came across an error in the harmony. He drew the young man’s attention to it with kindly words, adding immediately that it was not a mortal sin. Schubert, however, was utterly disconcerted now, perhaps as a result of Beethoven’s soothing remark. Not until he had left the house did he pull himself together, and then he cursed himself in the most common terms. He never had the courage to try to make the master’s acquaintance again.

Since the illness, to which Beethoven finally succumbed after four months’ suffering, made his customary artistic activity impossible from the time it began, we had to think of some diversion for him in keeping with his intellect and his interests. And so it happened that I showed him a collection of Schubert’s songs, about 60 in number, many of which were then still in manuscript. It was not my sole purpose to provide him with pleasant entertainment, but rather to give him the opportunity of becoming acquainted with the real Schubert, of forming a favourable opinion of his talent, which had been made suspect for him by those exalted beings who have doubtless done the same for others of their contemporaries. The great master, who until that time had known less than half a dozen of Schubert’s songs, was astonished at their number and could not be made to believe that Schubert had by then [February 1827] already written more than five hundred. But if he was astounded at the number, he was even more amazed when he came to know their content. For several days he could hardly put them down, and every day he spent hours at a time with Iphigenia’s monologue, the Grenzen der Menschheit, Allmacht, the Young Nun, Viola, the Mullerlieder and others. Again and again he cried out enthusiastically, ‘Truly, there is a divine spark in Schubert!’-- ‘If I had had this poem I would have set it to music too!’ he said of most of the poems, the subject and content of which, together with Schubert’s original setting, he could not praise enough .... In short, Beethoven gained such great respect for Schubert’s talent that he now wanted to see his operas and piano pieces too; but his illness had advanced to the point where he could no longer satisfy that desire. But he spoke often of Schubert, prophesying that ‘he will cause a stir in the world,’ and regretting that he had not corne to know him earlier.

And here's a letter from Anselm Huttenbrenner to "Professor Luib":
I know for certain that Professor Schindler, Schubert and I paid a visit to Beethoven’s bedside roughly a week before he died. Schindler announced us both and asked Beethoven which one of us he wished to see first. Beethoven answered, ‘Let Schubert come in first’.
(Kersr 1, 276. TDR V, 480)

Well, here's a nice 55 minute documentary/concert about performing Schubert's "Trout" Quintet with  Itzhak Perlman, Daniel Barenboim, Jacqueline Du Pré, Zubin Mehta and Pinchas Zukerman (I can't believe how YOUNG they look!).
https://www.youtube.com/watch?v=ZZdXoER96is

And now segueing back to Beethoven - here's some of the same people performing Beethoven's "Ghost" Trio...
Jacqueline du Pré, cello
Pinchas Zukerman, violin
Daniel Barenboim, piano
Piano Trio 5 in D, Op.70, No. 1 "Ghost" (1808)


More about the Ghost Trio in previous posts HERE and HERE.
Today's post has some longer video features which I would normally save for a weekend post but...how often does one get to put 'Schubert', 'trout' and 'ghost' in one post header ;) .

Saturday, September 25, 2010

9/25 The Triple Concerto

Triple Concerto, in C, Op.56 (1805) for Piano, Violin, Cello and Orchestra

Beethoven's Triple Concerto is unique.  Here we have not one soloist such as in a piano or violin concerto, but three!  This makes for some exciting interplay.  No other concerto or orchestral work gives me such a strong impression of playful oneupmanship between musicians, especially in the 3rd movement.  One could also think of this as a concerto for Piano Trio, but the soloist parts seem geared towards soloistic and duo confrontations/collaborations.  In fact as I mentioned in an earlier post, Herbert von Karajan and Mstislav Rostropovich "ganged up" on Sviatoslav Richter and Davis Oistrakh in one performance (as told by Richter in the Richter Enigma doc).
"Karajan: First we take Austria..."
(best game of RISK ever)
They seem happy enough on the album cover tho.

Here's a high-powered meeting between some modern stars, Daniel Barenboim, Yo-Yo Ma and Itzak Perlman.