Kerman Week 11 – Op. 95 – The Second Half of Chapter 6
By Eric Wagner, guest blogger
This week please read sections three and four of chapter 6 (pg. 168 - 187) and listen to Op. 95 over and over again. Please comment on this week’s reading/quartet and continue to comment on previous weeks’ readings/quartets.
I hope all goes well. Thank you for the terrific comments. Kerman refers to this quartet as a “spiritual exercise” on page 169. I like that. I think of this whole reading group as a sort of spiritual exercise.
Beethoven scholar Maynard Solomon, whom Robert Anton Wilson frequently cited, co-founded Vanguard Records and signed the Weavers and Joan Baez.
Pg. 169 – mitgefühl means sympathy.
Pg. 171 – Beethoven’s doing away with “conventional bridge and cadential passages of every kind” reminds of how Ezra Pound got T. S. Eliot to eliminate transitional passages in The Waste Land.
Pg. 178 – I love the passage, “The cello is treading on razor blades, and the upper instruments are whispering through their teeth memories of the semitone lament, which, indeed, seems to be frozen into the cello line itself.” I remember the third or fourth time I read this book in 1994, sitting at the front desk at LTJ Dance Arts in Scottsdale, Arizona, feeling blown away by Kerman’s description. I always remember that moment when listening to the second movement of this quartet.
Pg. 184 – I had to look up proleptic, the adjective form of prolepsis, “the representation or assumption of a future act or development as if presently existing or accomplished,” according to Merriam-Webster.com.
Pg. 185 – The discussion of form here makes me want to reread The Laws of Form, a Wilson favorite.