hints, allegations and things left unsaid...
A little bit of Beethoven
I've been listening to Beethoven all day (nothing new about that), in particular, to his 7th Symphony - something I rarely do (my favorite symphonic works of Beethoven are his 5th and 9th). It struck me how similar the first movement is to Tchaikovsky's "Slave Marche" - both in theme and style of composition (especially somewhere around 7th minute of first movement; for a moment I couldn't tell it was Beethoven I was listening to). If 9th Symphony is made memorable by the choral finale, 7th Symphony is rendered remarkable by its elegant second allegretto movement - a must hear.
Today I also got an opportunity to listen to his flute works. A lot of Beethoven compositions are mere re-arrangements of his own works. Take for instance Op. 104 which is a quintet rearrangement of Piano Trio No. 3 from Op. 1. The piece I heard today was a serenade in D for flute and piano, Op. 41, which is rearrangement of the same serenade originally composed for flute violin and viola, Op. 25. For the first time I happen to own both the original work and its re-arrangement and the experience of listening to them in succession is exhilarating to say the least - especially when you get down to analyzing how a piece originally played on violin and viola is morphed to suit a piano.
I've been listening to Beethoven all day (nothing new about that), in particular, to his 7th Symphony - something I rarely do (my favorite symphonic works of Beethoven are his 5th and 9th). It struck me how similar the first movement is to Tchaikovsky's "Slave Marche" - both in theme and style of composition (especially somewhere around 7th minute of first movement; for a moment I couldn't tell it was Beethoven I was listening to). If 9th Symphony is made memorable by the choral finale, 7th Symphony is rendered remarkable by its elegant second allegretto movement - a must hear.
Today I also got an opportunity to listen to his flute works. A lot of Beethoven compositions are mere re-arrangements of his own works. Take for instance Op. 104 which is a quintet rearrangement of Piano Trio No. 3 from Op. 1. The piece I heard today was a serenade in D for flute and piano, Op. 41, which is rearrangement of the same serenade originally composed for flute violin and viola, Op. 25. For the first time I happen to own both the original work and its re-arrangement and the experience of listening to them in succession is exhilarating to say the least - especially when you get down to analyzing how a piece originally played on violin and viola is morphed to suit a piano.
posted: 10.11.03
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