I attended my second concert in Aachen tonight. (My first was during one of my two interviews for the position I’ve just taken.) It was an up-and-coming quartet, one of those quartets invariably named after the first violinist.
A lot of thoughts ran through my head as I watched them perform the fifteenth quartets by both Beethoven and Schubert. Some observations were purely musical, as the quartet struggled mightily with the Beethoven but flew nearly effortlessly through the Schubert. My take on this is that the late quartets and sonatas are to Beethoven what the late song cycles (
Winterreise and
Schwanengesang) are to Schubert: impossibly personal works that have become universally beloved. However, because there is so much of their composers in them–their struggles and fears, loves and hopes, faith and frustration–that it requires that the performers have
lived the works.
There is so much more to this music that is completely lost simply by playing it through. It’s one of the reasons why I resisted doing
Winterreise for a recital I gave as a graduate student. I knew I could handle the tongue-trippingly large amount of German, and the range really wouldn’t have been a problem. However, my lack of experience in the world–having only been a child and living in the ivory tower for the better part of a decade–was significant enough that I didn’t think I could connect with the piece in a way that would allow me to do it justice. While for the audience it might have been a great recital to hear, I don’t believe that I would want to have just gone out their to sing the notes. I wouldn’t have done justice to Schubert’s legacy if I had.
Other thoughts were somewhat more random and fleeting:
- This might have been the first time I’ve ever heard a string quartet in which the violist was the most naturally expressive member of the quartet. The violinists and cellist were too busy emoting, and I think to an extent this came across in the performance, as things got rather ragged. Nowhere was this more apparent than in the fast movement of the Beethoven, where I think things nearly got completely unglued.
- I’ve never heard more collective throat-clearing after a movement than I did in this concert. Practically every movement, and especially the long opening movement of the Schubert, was followed by a rather spectacular bout of expectoration. It got to the point where it was downright funny. I was certainly laughing, and I know the people sitting around me were laughing, too. (Even though I don’t speak that much German yet, I can still recognize ein lachenden Mann when I hear one.)
- Whoever said that classical music was dying out is probably mistaken. A good chunk of the respectable audience (for 6:00 on a Sunday evening) were students and young adults.
- Has no one attempted to arrange the slow movement of the Beethoven for a cappella chorus, like Barber’s “Agnus Dei?” (Perhaps it’s just a matter of finding the right words.)
But getting back to the title of this post–what of “the pause between movements.” As I mentioned above, at this particular concert, it was quite disruptive. In a way, that is being mirrored in my real life, with a very turbulent transition between the last movement (my life in New Mexico) and the next (my life here in Germany). I hope that it is just a momentary thing, and that I–like a good musician–can put that behind me, and just move on without letting it get to me.