Concert Lecture Robert Levin, Bern 2017

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Concert lecture by Robert Levin
Bern, September 13, 2017
In the context of the international symposium «Rund um Beethoven. Interpretationsforschung heute» at the Bern University of the Arts.
Music:
Carl Philipp Emanuel Bach: Fantasy in f# minor, «C.P.E. Bachs Empfindungen» (C.P.E. Bach's Feelings) 21:20
Wolfgang Amadeus Mozart: Fantasy in d minor K.397 32:45
Ludwig van Beethoven, Fantasy in g minor, Op. 77 40:57
Played on an original early 19th-century fortepiano by Wilhelm Leschen (Löschen), Vienna 1812-14 (courtesy of L. Miucci).
Sound: Samuel Gfeller, Tonstudio HKB
Camera: Martin Skamletz, Daniel Allenbach
Editing: Daniel Allenbach, FSP Interpretation
See also the printed version of this talk and the further contributions to this symposium under www.hkb-interp...
Bern University of the Arts
www.hkb-interpr...

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30 сен 2024

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Комментарии : 22

@kluckow 3 месяца назад

Another brilliant Levin lecture!

@TorAndreKongelf 4 года назад

I could listen to Robert Levin for 10 hours straight no problem. And he would have no problem talking about awesome things for 10 hours either.

@2001spaceoddessy 4 года назад

Great lecture. Thanks for uploading!

@lioneldesmeules5041 3 года назад

Une immense leçon !

@gastonruizoyarce4818 4 года назад

I love the theme in Beethoven's Fantasy at 42:04

@Kris9kris 4 года назад

37:44 - Levin is very surprisingly in the wrong here, the last movement of the d-minor String Quartet K. 421 is actually in D minor with a short interlude in D major then the coda is D minor again, ending in a picardy third. But I concede nonetheless that Uchida's solution is a rather unimaginative one, especially since we know Mozart hated literal repetition.

@fspinterpretation 4 года назад

You're right, although such variation movements (and there exist other variations of the same kind, e.g. K.360/374b in G minor with one variation in G major) seem to be a slightly different case. But let's admit it is rather rare.

@GSHAPIROY 4 года назад

+Kris9kris A little bit different there, the last movement of K. 421 is a theme and variations in a minor key, so it makes sense that there would be a variation in D Major before returning to d minor for more variations. As far as returning to the opening, I am in agreement that the Fantasy should return to the d minor opening, but it need not be a 'literal repetition', especially of all of the first twelve bars.

@Kris9kris 4 года назад

@@GSHAPIROY There are also some minuets such as in the K. 516 string quintet which has a trio in major in an otherwise minor movement, but I guess that wouldn't count for the same reasons. For the record, this kind of minor-major-minor change also occurs in the K. 594 Adagio and Allegro which is chronologically closer to the d-minor Fantasy (written in 1789 as we know from Alan Tyson's research). You might successfully argue that it's an outlier, and we couldn't possibly know for certain what Mozart intended, and you're quite right. I concocted a concept myself for ending this piece in a picardy third, which is a stunt double for the minor mode, a middle of the road solution if you will (you can check it out on my personal YT channel).

@GSHAPIROY 4 года назад

+@@Kris9kris Which piece? I was unable to find your ending. But to me, it seems only logical that the piece (K. 397) that starts in d minor should also end in d minor. In K. 475, the piece starts and ends in c minor, but perhaps that is also a different case, because of all the keys Mozart visits between the two c minor sections, there is never a C Major section.

@Kris9kris 4 года назад

@@GSHAPIROY This was the piece I was talking about dme.mozarteum.at/DME/nma/nma_pdf.php?c=dnNlcD0yMDImcDE9NzAmcDI9NzkmbD0yJnRpdGxlPS4uJTJGb2JqcyUyRnBkZiUyRm5tYV8yMDJfNzBfNzkucGRm&cc=04e37e0ef239849ba6ccc6b50673b079