Cover of the Grateful Dead's "Blues for Allah."
By Eric Wagner, guest blogger
This week please read sections 4 and 5 of chapter 10 (pg. 325 - 349) and listen to Op. 131. Please comment on this week’s reading.
I hope all goes well. On pg. 325 Kerman discusses Tovey’s ideas about normality. Tovey and Kerman use the word normal in a very different way than Bob Wilson did in “Committee for Surrealist Investigation of Claims of the Normal." In fact, the theme of normalcy (in the Tovey sense) runs all through the analysis of this quartet.
Pg. 331: Kareol refers to a famous house in the Netherlands built for Julius Carl Bunge, a big Richard Wagner fan. According to Wikipedia, “there were many tiles in the house with pictures referring to the opera Tristan und Isolde.” (Of course, Wagner called Tristan und Isolde a music drama, not an opera.) I like how Kerman calls the opening fugue a “great machine”.
Pg. 332: I look forward to the film Dominant Preparation with a Vengance with Bruce Willis as Beethoven. “Allegra molto vivace, motherf---er!”
Pg. 334: Dorabella and Fiordiligi – two sisters in Mozart’s Cosi fan tutti.
Pg. 346: Wagner’s “stupendous fiddler” makes me think of the fiddler on the cover of the Grateful Dead’s Blues for Allah.
Pg. 346 – 347: Tovey makes Beethoven and Wagner’s powers of modulation sound like mutant superpowers.