Critical Appreciation Of Beethoven Music

In Beethoven 's music is an experience, an act of intellectual creation while released from the rigor of logical thought when the play unfolds its power.

Romain Rolland, noted scholar and apologist of Beethoven, has said that in most of the German masters unconscious struggle of simultaneity, the subconscious and the will is given. All that is expressed musically is an interior movement. The psychic background permeates the way. "The best artists of our Latin race are usually equipped with plastic imagination (not to mention other features of cerebral order) whose mechanism is interposed as a screen between the impulse (elan) creator and musical expression. It is through the plastic imagination that translates the language of sounds, movement

17: The Tempest, and read Shakespeare. What Beethoven meant by those words? When he began to write always he had an image in his mind that he might be supported by their conceptions of work in training. And in the mental conception of the subject he was the inspiration, the free flight came to him come from memories, landscapes, pain or joy. The creative impulse came - they say - of ideas into words the poet and musician in music. Those ideas "raging and roaring in my mind, even when they appear before me in the form of notes."

Painting is also a system of representation that, like writing and music, consists of dialogues own rules and conventions.

The piano sonata called The Tempest can remind the drama of Shakespeare. It is a dark and terrible piece of intense drama, and we foresee pudiéremos Prospero doing roaring waves, the ebb and flow motivating the tremendous swing, the heat of all

He has not yet taken off the eagle Beethoven and feels the influence of these classic predecessors. Beethoven comes the second period, which produced the great symphonies: the Eroica, the famous Fifth Symphony and many other orchestral works.

But there is a second term in the string quartets. There are five quartets, belonging to two groups: The three Opus 59, all wonderful and touched by the passion of this time of genius. And then two of the same period one Drang Sturm: Quartet "Serioso" and the quartet "Harps" with technical innovations never before known.

Arriving early age (it has more than 50 years), his music is introspective and yet his genius needs dwell on symphonic works of incomparable greatness: Solemn Mass and the Ninth Symphony, which are the height of his orchestral creation. But he did not leave the string quartets and launched into a composition never heard before, and while the performers refused to touch them because they do not understand.

In these late quartets, his third and final term, has already announced the jazz and modern music. There dissonance, breaks, silence still imitated by the music of the twentieth