Interesting article on Beethoven and Linda Holt in this week’s U.S. 1 Newspaper – PrincetonInfo. Holt, a follower of this page, is a music writer and author of two books about Beethoven, “The Black Spaniard” (2016) and “Invictus” (2019). Of especial importance, in light of all the knee jerk politicization, recently, of a composer apparently the most vocal know shamefully little about, are the details of his hardscrabble life, his unwavering democratic principles, and his revolutionary spirit. This was no elitist composer of privilege, but an artist for everyone and for the ages. Holt does what she can to set the record straight. Read more in this interview conducted by arts editor Dan Aubrey.
Well, here we are. Your 250th birthday – what would have been the biggest celebration in classical music (at least until 2027, the 200th anniversary of your death) – and we’re all sitting at home with our records. That’s okay. I’ve got plenty of good ones. Anyone care to share any of their favorites?
Here’s a montage of 42 conductors and 1 pianist, performing the most famous opening in all of Western music. It really gives a sense of what different interpreters can bring to a piece of music (also, in Barenboim’s case, the effect of an unstifled sneeze). Performance matters!
Here’s one from 2007 that I find quite compelling, led by the Hungarian composer Péter Eötvös.
My candidate for craziest stick technique:
Perhaps more instructive is this traversal by line-riding bikes:
Clearly, this symphony is bulletproof.
Beethoven as he appeared in 1804-05, while he was at work on his “Fifth”
As seemingly everyone in this part of the country scrambles to fortify themselves with bread and alcohol in advance of the impending nor’easter, The Classical Network hunkers down to celebrate Beethoven.
Intrepid hosts honor the master’s 250th birthday this morning by sampling from his vast and varied output. At noon today, Jed Distler will look back on whacky 2020 on “Between the Keys,” with more Beethoven among his featured music. Then at 10:00 tonight, David Dubal will celebrate Beethoven on “The Piano Matters.” Actually, now that I think about it, it will be Beethoven, more or less, all day long. As well it should be.
It may not be quite the 250th birthday celebration we had all hoped, but it’s certainly in keeping with the craziest year in memory.
Remember, you can do your part to sustain the continued broadcast of Beethoven and his brethren on The Classical Network by making a contribution now, by calling 1-888-232-1212, or donating online at wwfm.org.
What’s a little snow when weighed against the titanic struggle, triumph, and overriding nobility of Beethoven? Make Beethoven the soundtrack to your snowpocalypse. Thank you for your support of WWFM – The Classical Network and wwfm.org!
On the eve of the 250th anniversary of Beethoven’s birth (observed), celebrate Ludwig Van with Peanuts:
Schroeder plays the “Pathétique” Sonata:
Schroeder plays the “Moonlight” Sonata:
Lucy resents Schroeder’s white privilege:
Direct all mail to 1770 James Street (Schroeder’s address – 1770 is the year of Beethoven’s birth). Charles Schulz made Schroeder a musician when he decided to work his daughter’s toy piano into the strip. The first piece he ever had Schroeder play was not by Beethoven, but rather Rachmaninoff’s Prelude in G minor. Schulz himself preferred Brahms, but he said he thought “Beethoven” sounded funnier.
BONUS! “Schroeder’s Beethoven Fantasy,” the first movement of Ellen Taaffe Zwilich’s “Peanuts Gallery”:
Vaughan Williams’ “Lark” first ascended 100 years ago today.
Written in 1914, it was first performed on this date in 1920, albeit in a version for violin and piano, in the unassuming venue of Shirehampton Public Hall in Bristol. Marie Hall was the esteemed violinist. The pianist was Geoffrey Mendham. Hall – who made the first recording of the Elgar Violin Concerto, with the composer as conductor – was also the soloist at the premiere of the orchestral version, which received greater notice, when it was unveiled at the Queen’s Hall, London, on June 14, 1921. The British Symphony Orchestra was conducted on that occasion by Adrian Boult.
The score, which bears an inscription from a poem of George Meredith, is the quintessence of the composer’s elegiac pastoralism. Thanks in part to frequent radio airplay, the music’s popularity increases annually, with “The Lark Ascending” consistently ranked among top listener favorites. At the same time, it has been embraced by more and more violinists.
The composer described his leisurely, contemplative, frankly gorgeous violin rhapsody as “a romance.” It now soars as some of his best-known music.
Hark, hark, the Lark.
He rises and begins to round,
He drops the silver chain of sound,
Of many links without a break,
In chirrup, whistle, slur and shake.
For singing till his heaven fills,
‘Tis love of earth that he instils,
And ever winging up and up,
Our valley is his golden cup
And he the wine which overflows
to lift us with him as he goes.
Till lost on his aerial rings
In light, and then the fancy sings.
