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Testaments Betrayed: An Essay in Nine PartsImagine all the great symphonists, including Haydn and Mozart, Schumann and Brahms, weeping in their adagios and then turning into little children when the last movement starts, darting into the schoolyard to dance, hop, and holler that alls well that ends well. This is what we might call "the stupidity of music." Beethoven saw that the only way to get around it is to make composition radically individual. This idea is the first item in his artistic testament addressed to all the arts, to all artists, and which I shall state thus: the composition (the architectural organization of a work) should not be seen as some preexistent matrix, loaned to an author for him to fill out with his invention; the composition should itself be an invention, an invention that engages all the author's originality. I cannot say how thoroughly this message was heard and understood. But Beethoven did draw all of its implications-magnificently-in his last sonatas, each of them composed in a manner unique and unprecedented. 14 The sonata Opus 111; it has only two movements: the first, which is dramatic, is worked out more or less classically in sonata form; the second, meditative in character, is written in variation form (a form rather unusual in sonatas before Beethoven): there is no play of contrasts and differences among the individual variations, only an intensification that keeps adding fresh nuance to the previous variation and gives this long movement an exceptional unity of tone ...» |
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