What a difference there was between Mozart and Beethoven. Where the former was often forced to wear livery and eat with the servants, Beethoven hobnobbed with nobility and taught some of them music and piano.
When he didn't feel he was getting what he deserved, the composer, in 1808, put out the rumor that he was considering a position with a Napoleon brother and would leave for Westphalia.
We learn from others, or as Picasso said, "Good artists copy, great artists steal." Beethoven took this advice and borrowed from Mozart and Haydn, but quickly progressed.
Where some would borrow a sonata development or structure, Beethoven would take the layout, hacksaw it off and replace it with an invention of his own, or invert something and swap parts around, much like car nuts did in the early days of Hot Rod building.
But the composer's days of modifying others' ideas was over.
YOSA (Youth Orchestras of San Antonio) are usually on the move, but this weekend, they hope you will join them in a 5k/10k fun run. This is the second year the group has led a "Beat Beethoven's Fifth" race and they are joined by Fleet Feet Sports San Antonio, as well as Texas Public Radio, for the event Saturday morning.
Jeffrey Biegel talks about his upcoming recital at the First Unitarian Universalist Church this Saturday. While the topics all had something to do with great music, some are a little off topic. Biegel first talks about his new passion, tweeting; @tprclassical subscribes to his tweets and he certainly has a lot to say - as do those that follow his remarks.
I remember reading a legendary performer once say that no two performances are alike. When I starting studying the piano I recorded some of my practice sessions to hear how I was playing without the distraction of making the music.
The great musician was right, not only were all my repetitions different, I couldn't make my performances sound the same if I tried.
In the hurly-burly of a Piano competition there are selections that can make or break the chances of a competitor; pieces so difficult or dense that only a master musician can make them work for the audience and more importantly, the judges.
On the Piano this Sunday, we continue with music from the 2012 San Antonio International Piano Competition where two of the pianists "go big" in an effort to convince the judges that they have what it takes to be worthy of the gold medal.
The latest from Joshua Bell isn't a violin album, although he does play. It features his "new band," the Academy of St. Martin in the Fields, of which Bell is the Music Director; only the second one in the group's 54 year history. The new Sony Classical release features Ludwig van Beethoven's Symphonies No. 4 and No. 7.
In the 3 sonatas of Opus 10, Ludwig van Beethoven was making a statement about his pianistic abilities, and one thing he knew that would certainly attract attention was contrast. The composer asks for double fortes, throws in unexpected rests, and invents the heroic funeral movement that he would exploit in future symphonies. This is all in the third sonata in D Major.