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.
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.
+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.
@@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).
+@@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.
@@GSHAPIROY This was the piece I was talking about dme.mozarteum.at/DME/nma/nma_pdf.php?c=dnNlcD0yMDImcDE9NzAmcDI9NzkmbD0yJnRpdGxlPS4uJTJGb2JqcyUyRnBkZiUyRm5tYV8yMDJfNzBfNzkucGRm&cc=04e37e0ef239849ba6ccc6b50673b079
Another brilliant Levin lecture!
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.
Great lecture. Thanks for uploading!
Une immense leçon !
Wow. Thank you. Perfect.
I love the theme in Beethoven's Fantasy at 42:04
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.
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.
+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.
@@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).
+@@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.
@@GSHAPIROY This was the piece I was talking about dme.mozarteum.at/DME/nma/nma_pdf.php?c=dnNlcD0yMDImcDE9NzAmcDI9NzkmbD0yJnRpdGxlPS4uJTJGb2JqcyUyRnBkZiUyRm5tYV8yMDJfNzBfNzkucGRm&cc=04e37e0ef239849ba6ccc6b50673b079
28:22
Not to make a lot of money, that’s for sure!!!!!! (Why be an artist).
Heruntergeleiert, extreme Tempi, totaler Unsinn.
Shut up
23:12