是真名士自风流

Magic Sparkle

Sometimes things happen in a way as if they had been ordered intentionally.

In the afternoon, I was watching the last units of a music course by Prof. Wright, completing quizzes about Postmodernism, specially focused on Minimalism. Then a pianist friend posted this question on facebook:

So, now at least I can understand what he is talking about, and, with luck, can also get oriented by some of the answers...

In the evening, finally I could attend Fazil Say's concert in Barcelona (I missed his solo recital on past Tuesday held in my favorite hall with my favorite seat booked eight months ago). In a hurry, I have forgotten to take any program note on the ground floor and once upstairs, I could barely remember which works were going to be performed.

I knew it would be his own piano concerto but had no idea what it was about. Here it comes. 

And

东一榔头，西一棒子

(Special thanks to LM)

Again, I have got recently a musical "finding", though which must not be anything new for people trained with the academic background.

In Heidelberg I listened to Mozart's G minor piano quartet (K. 478) for the first time, and in the third movement (in G major), suddenly there came out a theme which is identical to his famous Rondo in D major (K. 485):

So I searched for the composition background, which confirmed the relation between them: Mozart composed the commissioned piano quartet first (1785) and in the first days of 1786 he used the 2nd theme of the 3rd movement to develop a lovely rondo for piano solo:

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Actually I had another similar experience with Beethoven, one year ago. Also in one of his piano quartets (from WoO 36 No. 3 - 1st mov.):

I got to know this phrase thanks to the documentary "Bloody Daughter": Here in the excerpt M. Argerich was playing with her elder child Lyda Chen, among others, where I heard a same passage as the one that appears in Beethoven's 3rd piano sonata (Op. 2 No. 3), also in C major.

Later when reading complete scores of the quartet, I saw more evident similarities in the first movements of the two works...

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It was not any coincidence. It was because that I did not listen to PIANO QUARTETS. Yeah, piano trios, piano quintets, string quartets... but never paid attention to piano quartets. 

Interesting.

And, every day a little less ignorant... : )

Trick of the year

我的天！我终于找到阿姨某华彩的出处了……她从一开始就没瞒我，就是莫扎特本人啊，但是是另外一首钢协的好么……我半年来一直找不到，听写出来给她看，她说这样好玩……但还是没说更具体……（话说你这样对待一个脑残你于心何忍？！？！？！？）

于是，我觉得这应该解释了以前传说中她两首钢协弹混过、然后自己现挂变回去的事情……肯定是什么自以为是的观众在论坛里胡喷的……因为显然她是故意而且一直这么弹的……她可能都没意识到这会造成有些人错觉……我无知无错觉，但问那么具体了，她只说，这样子给人惊喜……嘿嘿好，那我也不说……

首先，S、T这两首钢协的相关乐章不是同一调性的，所以肯定是有意为之，而且阿姨还加了和声（每次还不一样），故不可能是顺手弹过去了……而且莫原谱则是单手，但这个旋律在华彩里给她改成了三度……其二，钢协S里那个奇异的华彩段落，是来自钢协T的正经主题，而非T的华彩……然后钢协T偏巧是我不太喜欢的一首，大概只听过一两遍…… 所以说一直找不到啊哈哈……

其实我最初对S末乐章里这个突入的奇怪部分感兴趣时，就隐隐觉得是有出处的，但找了很多版，很多人的华彩（以及莫本人的），看了很多次S谱子，都没找到相关主题。第二次再问她，她只说这样好玩，那我也不能说“你自己编不出来这个”呀……如今发现远在天边近在眼前，我就是那后知后觉的深井冰！！