William Shakespeare (Chandos portrait)
Kerman Week 12 - VoiceBy Eric Wagner, guest blogger
This week please read chapter 7 (pg. 191 - 222) and listen to the fifth movement of Op. 130 (Cavatina), the first two movements of Op. 127, the fourth movement of Op. 131, and the third movement of Op. 135 over and over again. Please comment on this week’s reading/listening and continue to comment on previous weeks’ readings/quartets.
I hope all goes well. Thank you for the terrific comments. One may model a study group of the Beethoven quartets as three study groups. We have entered the final study group.
Pg. 193 – Kerman quotes from Shakespeare’s Sonnet 107, although the two lines quoted
in the book get the line break wrong.
Not mine own fears, nor the prophetic soul
Of the wide world dreaming on things to come,
Can yet the lease of my true love control,
Suppos'd as forfeit to a confin'd doom.
The mortal moon hath her eclipse endur'd
And the sad augurs mock their own presage;
Incertainties now crown themselves assur'd
And peace proclaims olives of endless age.
Now with the drops of this most balmy time
My love looks fresh, and Death to me subscribes,
Since, spite of him, I'll live in this poor rhyme,
While he insults o'er dull and speechless tribes;
And thou in this shalt find thy monument,
When tyrants' crests and tombs of brass are spent.
Shakespeare seems to describe downloading his consciousness into poetry and evading death when he says, “Since, spite of him, I’ll live in this poor rhyme”.
Kerman calls this chapter “Voice”. I wonder if Crowley’s The Vision and the Voice would help one in understanding it. (Did Ultron build another android called the Voice?)
Pg. 197 – Abscheulicher! Wo eilst du hin? comes from Beethoven’s only opera Fidelio.
Pg. 199 – The Sonata in A flat refers to the piano sonata Op. 110.
Pg. 218 – The measure which Kerman praises so highly comes ten bars from the end of the second movement of Op. 127.