At the core of Beethoven’s “Diabelli” Variations, an esoteric and astonishing piano piece lasting some 50 minutes, is one of the intriguing mysteries of music history. Why did Beethoven, during the difficult last decade of his life, when he was deaf, chronically ill and often in financial straits, become nearly obsessed with writing an extensive and complex set of variations on a dumpy little waltz, a theme he had first dismissed as a “cobbler’s patch”?

Anthony Tommasini, “A Musical Giant, Obsessed With a Little Tune”, The New York Times, 4 March 2009.  

Click here to view article

Posted

in

by

Greg

Tags:

,

Featured Content

It must be resolved
Bach, a master of harmony and counterpoint, would not settle for imperfect sounds, no matter where he was.  Johann Reichardt recalled: Johann Sebastian Bach once came into a large company while a musical amateur was sitting and improvising at a harpsichord.  The moment the latter became aware of the presence of the great master, he […]
Mack the Knife
Bobby Darin’s 1959 recording of “Mack the Knife” from The Threepenny Opera (Lyrics: Bertolt Brecht; Music: Kurt Weill) not only hit number one on the charts, but was also the first non-R&B pop hit for Atlantic Records and helped establish the label’s future. Source: Creswell, Toby (2005) 1001 Songs: The Great Songs Of All Times. […]
Mozart on melody
“Melody is the essence of music”, continued he; “I compare a good melodist to a fine racer, and counterpointists to hack post-horses; therefore be advised, let well alone, and remember the old Italian proverb – ‘Chi sa piu, meno sa – Who knows most, knows least’.” The Reminiscences of Michael Kelly, 1826. Cited in: Marshal, […]
Rehearsal conditions must be suitable
Strengthened by his initial triumph and by daily evidences of the ever-mounting appreciation and support of the Philadelphia’s new claim to artistic fame, Stokowski tried once again to convince the board that first-class musical results were impossible unless the orchestra rehearsed exactly where they performed.  The men engrossed in the financial problems of balancing budgets […]
The necessity of the serial method
Boulez declares: “Any composer of our time who has not felt the necessity of the serial method is worthless.”  Omit the word “not,” and I agree. Ned Rorem (2000) Lies: A Diary 1986-1999.  Cambridge: MA: Da Capo Press, p.69.
You Are A Priest For Ever (Setting II) – Psalm 109 (110)
Title: You are a priest for ever (Setting ii) Text: Psalm 109 (110): 1, 2, 3, 4 Composer: Greg Smith Instrumentation: SATB and piano Product medium: PDF score and part Sample:
American Western Film Soundtracks
“Morricone brought the electric guitar to the western. The great thing, though, about the electric guitar in the western is that there were no electric guitars, but somehow he did it so committedly that nobody ever questioned it. It was only much later people started to say, ‘How come there’s an electric guitar part there?’ […]
Composition
GREG SMITH Composer, arranger, and pianist Greg Smith is an Australian composer and pianist based in New South Wales.  Greg majored in piano and composition at The University of Newcastle, completing a Bachelor of Music with first-class honours with a university medal in 2001.  He completed a Master of Creative Arts in piano performance, studying […]
Claudio Arrau in Newcastle
While the Century Theatre in Broadmeadow (Australia) primarily operated as a cinema, it was also hosted concerts, including by the Sydney Symphony Orchestra. On one occasion, Claudio Arrau performed in the theatre, as recalled by Harry Armstrong: With only a few minutes to go before the famous pianist was scheduled to commence his performance, which […]
Form and content
“I think that one way toward a more intelligent and involved appraisal is through a connection with the pieces, and that one way to develop that connection is to talk about what the pieces mean to people who have spent a lot of time with them: the content, if you will. This approach can also […]