Ludwig van Beethoven (1770-1827), String Quartet No. 14 (Op. 131, C-sharp minor; 1826); Takács Quartet, live
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lagniappe
musical thoughts
Opus 131 . . . is routinely described as Beethoven’s greatest achievement, even as the greatest work ever written. Stravinsky called it ‘perfect, inevitable, inalterable.’ It is a cosmic stream of consciousness in seven sharply contrasted movements, its free-associating structure giving the impression, in the best performances, of a collective improvisation. At the same time, it is underpinned by a developmental logic that surpasses in obsessiveness anything that came before. The first four notes of the otherworldly fugue with which the piece begins undergo continual permutations, some obvious and some subtle to the point of being conspiratorial. Whereas the Fifth Symphony hammers at its four-note motto in ways that any child can perceive, Opus 131 requires a lifetime of contemplation. (Schubert asked to hear it a few days before he died.)
No matter what she’s playing, she seems never to touch the ground.
Maurice Ravel (1875-1937), Piano Concerto in G (1929-31); RAI National Symphony Orchestra (Claudio Abbado, cond.) with Martha Argerich (piano), live, Rome, 1969
Morton Feldman (1926-1987), Palais de Mari (1986); Blair McMillen (piano) & Ryan Olivier (video processing), live, Philadelphia, 2014
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lagniappe
musical thoughts
My obsession with surface is the subject of my music. In that sense, my compositions are really not ‘compositions’ at all. One might call them time canvases in which I more or less prime the canvas with an overall hue of the music.
—Morton Feldman, “Between Categories” (Give My Regards to Eighth Street)
Maurice Ravel (1875-1937), String Quartet in F major (1903); Hagen Quartet, live, Austria (Salzburg), 2000
1st movt.
2nd movt.
3rd movt.
4th movt.
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lagniappe
reading table
Can I get used to it day after day
a little at a time while the tide keeps
coming in faster the waves get bigger
building on each other breaking records
this is not the world that I remember
then comes the day when I open the box
that I remember packing with such care
and there is the face that I had known well
in little pieces staring up at me
it is not mentioned on the front pages
but somewhere far back near the real estate
among the things that happen every day
to someone who now happens to be me
and what can I do and who can tell me
then there is what the doctor comes to say
endless patience will never be enough
the only hope is to be the daylight
—W. S. Merwin, “Living With the News” (New Yorker, 7/28/14)
Claude Debussy (1862-1918), String Quartet in G minor (1893);New England Conservatory Student Quartet (Minchae Kim & Harry Chang, violins; Heejin Chang, viola; Hsiao-Hsuan Huang, cello), live, Boston, 2014
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A big birthday shout-out to my son Alex (now twenty-seven), who’s enriched my life, musically and otherwise, more than he could ever know.
music clip of the day 