The Grateful Dead in 1980. (Creative Commons photo by Chris Stone).
Kerman Week 13 – Op. 127By Eric Wagner, guest blogger
This week please read sections 1 – 3 of chapter 8 (pg. 223 - 242) and Op. 127 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. On page 239 Kerman talks about “the extraordinary sense of coherence created by the sequence of movements in Beethoven’s greatest compositions.” (Note that he considers the quartets Op. 127, 132 and 131 Beethoven’s greatest compositions. Bob Wilson would likely prefer the Ninth Symphony and the Hammerklavier Sonata.) I enjoyed Jan Swafford’s biography of Beethoven, but I disagreed with how much he stressed thematic unity as the key to the coherence between movements in Beethoven’s music, especially in his early music. I find Kerman’s more nuanced approach, emphasizing harmony and form as well as melody, much more convincing.
On page 242 Kerman says, “The exquisitely calculated journey leads to a castle in the clouds.” This reminds me of a comment in The Deadhead’s Taping Compendium, Volume I, calling “Dark Star”, “St. Stephen”, “The Eleven”, “China Cat Sunflower”, and “Clementine” “psychedelic castle music” for their Medieval elements.