By Alfred Brendel
During this definitive assortment of a popular pianist's writings—some of them by no means prior to released in English—Alfred Brendel brings the readability and originality of expression that represent his performances to the broadcast web page. no matter if discussing Bach, Mozart, Beethoven, Schubert, Liszt, Schoenberg, or different pianists, his reflections will turn out important to critical piano avid gamers and listeners alike.
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Beethoven's 9th Symphony, a masterpiece that has inspired virutally each Western composer for the reason that its most popular, has turn into linked to the marking of momentous public events. In 1989, chinese language scholars performed its finale via loudspeakers in Tiananmen sq., and Leonard Bernstein led a functionality in Berlin to have a good time the razing of the Berlin Wall.
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Extra info for Alfred Brendel on Music: Collected Essays
Third is the larger subject of nineteenth-century attitudes toward the aesthetics of the eighteenth century, which reveals the diminishment of one of its great achievements and pleasures, that which might be called philosophical listening. Finally comes the transformation of late eighteenth-century views on music-making and musical communication, in which we see a new ideology of connoisseurship that reﬂected the need to create a normative and hierarchical Classicism in response to the enormous increase in the size of music’s audience.
In 1781 he claimed to Artaria that my lieder, through their variety, naturalness and beautiful and grateful melodies, will perhaps surpass all others. . Now something from Paris. Mr le Gros, director of the concert spirituel, wrote me all sorts of nice things about my Stabat mater, which was given there four times to the greatest applause. . They were surprised that I was so extraordinarily successful in vocal music; but I wasn’t surprised at all, for they haven’t heard anything 3 4 5 20 July 1781; Joseph Haydn: Gesammelte Briefe und Aufzeichnungen.
63 The widely held Wagnerian perception that Mozart’s genius lay in his operas and vocal music led to the idea that his instrumental music also had a vocal and therefore human cast to it. Because of this, its line and structure were susceptible to Romantic listening: one could hear in Mozart an interior narrative. In Haydn, on the other hand, there seemed to be only the playfulness of sound. That Haydn was a composer of drama and rhetoric was a view that lay in the past – and future. The perception of the absence of extra-musical profundity in Haydn’s instrumental music, despite its acknowledged exemplary virtuosity in techniques of musical elaboration, transformation and variation, has remained almost second-nature throughout the history of Haydn reception.