The other reason for stalling in my "all the records by 40" project was Bach. I honestly don't know what to say about Bach. I don't be the sort of moron who calls Bach "sewing-machine music". Not least because I like Bach, but I don't know how. SO I'm going to pass by Bach for the time being, confident that by the time I reach 40 I shall be far more mature and be able to express how I feel about him.
I have moved onto Beethoven in my systematic playing but forgot to blog most of it, so we shall return to the bulk of my Beethoven collection, too. However, I am currently playing the Choral Fantasy in C minor Op 80 for piano, chorus and orchestra, which is just one of the most amazing piece of musics ever written. I often say that Beethoven is one of my favourite composers, but, symphonies apart, I don't actually have very much by him.
What I like about this particular piece is that it encapsulates the quintessential Beethoven, for me. See again the title - fantasy for piano, chorus and orchestra. So we start with a grand virtuoso piano first movement, which, as well as being pleasant in itself, also signals that it is building up to something. the second movement is a conversation between piano and orchestra. Beautifully lyrical and worthwhile in itself, simultaneously telling us that there is more to come.. The movement closes with a significant temp change - from Adagio to Marcia, assai vivace - and always there is underlying sense of moving forward. The third movement with solo voices singing with piano and background orchestra, building up into full choir, orchestra and piano, a real goose-pimple moment. And for ever building up to a manic finale.
When there simply isn't enough time for Beethoven's 9th Symphony, the Choral Fantasy serves as worthy alternative in quarter of the time! It's not the sort of piece that gets pushed by ClassicLite FM, nor included on compilation albums, but in my opinion, no record collection should be without it. I have never heard it live, I wonder if the need for six soloists for a four minute movement militates against live performances.
The triple concerto on the same disc is pleasant, too, although never likely to be a contender in my hypothetical Greatest Pieces listing.
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