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Additional info for A Companion to Beethoven's Pianoforte Sonatas: Complete Analyses
The piu mosso quickly relieves him of his despair. Never was the genre of first violins plus snappy accompaniment so sprightly. Holiday for Strings: Leroy Anderson certainly could have learned a thing or two. Stravinsky must have thought so too since, in the recorded version authorized by the composer, the episode was repeated almost in its entirety-something which certainly was not in the score. Another section which can be taken for Ode but is not and finally the Marche that started things off.
Those arpeggios, is that not Scenes de ballet? Or is it really Tchaikovsky? And the sluggish clarinet melody, is that not Ode? A canon between a solo violin and a trombone clarifies things: of course, it is the Pas de Deux from Danses Concertantes. In that case, those shoddy bars are coming up, actually beginning with the canon itself, that just cannot seem to get off the ground. How, he desperately asks himself for the hundredth time, can he ever explain why this canon in the wrong way , and the fugato at the end of Babel in the right way, cannot get off the ground?
Thus, the illusion can be conjured up of no other music being portrayed. This is exactly the illusion that many composers strive for (and the harder they work at it, the more it is in vain). These composers try to neutralize the music that has made their own music possible and thereby make that other music anonymous. Music in generallcnds a hand as well: it 18 Ars lmitario Artis wears out after continual use. What remains is the empty husk of conventions and cliches. Some of thcsc conventions arc: brilliant scherzo for orchestra; or, pastoral oboe melody; and also, sonata fom.