DIY History | Transcribe | Hevelin Fanzines | Horizons, v. 5, issue 3, whole no. 19, June 1944

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Horizons, v. 5, issue 3, whole no. 19, June 1944

Page 8

wrote in place of the original slow movement when he found the work getting out of hand; and above all, the glorious and tremendous rondo finale, the pianistic equivalent of the allegro music of the Leonora overtures.
   Considerably more spectacular, though of more dubious artistic value, is the sonata opus 57, the "Appassionata". Critics are still not certain whether this is filled with genuine storm and fury, and Robert Haven Schauffler, in his excellent critical biography of Beethoven, claims that the first movement is a sort undeniable, and the slow movement is one of the greatest triumphs of static motion in all music--serene, long variations on a theme like the slow movement of the violin concerto, never modulating or moving from the calmness of the original melody. Third of the greatest of the second period sonatas is the so-called "Farewell", opus 81a, although this shows unmistakeable signs of the third period Beethoven. It's a sort of glorification of what Weber tried to do in his pleasant if uninspired Concertstuck, and from the pianist's point of view, one of hte most rewarding of all the 32.
   However, it's the last five or six of the sonatas that are the greatest, if not the most often heard. The Hammerklavier is among them--and of this work, you must judge for yourself the value. Nothing anyone can say about it seems to change opinions on whether it's one of Beethoven's greatest compositions, or his faults carried to their extreme. It may be heard occasionally over the air, and is available on records in both the original version and an orchestration. Which ever way you may want to get acquainted with, I recommend trying a movement at a time. I can't conceive of anyone talking it all in at once: the first movement is big of itself, the scherzo that follows would have made a good-sized sonata out of the first two movements. But there is still the longest and most complex of all Beethoven's slow movements for piano alone, and the whole thing is topped off with the gigantic fugal finale.
   The next two sonatas are great enough, but the final of the 32 is the Choral Symphony for the piano, my favorite of the entire set. How it would impress the fan, I don't know, and would most certainly appreciate it if you would find out and let me know. There are only two movements: a stormy allegro preceded by a majestic introduction and a sublime slow section that is in my opinion the greatest set of variations on a theme in existence. If anything in music corresponds to the Apocalypse, this is undeniably it!
   What else is there to say? The music is there, and if you insist on listening to Tachaikovski, you have less intelligence than any self-respecting fan.

                Clod Again
I refuse to comment on the two packs of Cosmic Circle publications which seem to have been meant for FAPA matter, simply because it's quite impossible to tell which is and which isn't meant for the purpose of this organization. IQ would seem to be, and shows that our New Castle pal can think of something besides Suzzie and the Planet Fantasy Federation, but it would take a better fan than I to unscramble the maze of publications: I suggest that the whole lot with the possible exception of IQ, be stricken from the EAPA records.
   Which gives me opportunity to mention that barring unforeseen accident, the Degler Memorial Issue of Horizons will be in the next FAPA mailing. I can still use some anecdotes about Degler, or accounts of his adventures--I'm particularly interested in learning what really happened in the Florida everglades, and if any fan was told this, kindly tell me all about it.
   This DMI will constitute the issue of Horizons skipped over the winter, and bring the publishing schedule up to date again. I can guarantee that it'll be funny and contain lots of hitherto unpublished stuff all I ask is that you do your share by contributing anything worthy of inclusion.

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wrote in place of the original slow movement when he found the work getting out of hand; and above all, the glorious and tremendous rondo finale, the pianistic equivalent of the allegro music of the Leonora overtures. Considerably more spectacular, though of more dubious artistic value, is the sonata opus 57, the "Appassionata". Critics are still not certain whether this is filled with genuine storm and fury, and Robert Haven Schauffler, in his excellent critical biography of Beethoven, claims that the first movement is a sort undeniable, and the slow movement is one of the greatest triumphs of static motion in all music--serene, long variations on a theme like the slow movement of the violin concerto, never modulating or moving from the calmness of the original melody. Third of the greatest of the second period sonatas is the so-called "Farewell", opus 81a, although this shows unmistakeable signs of the third period Beethoven. It's a sort of glorification of what Weber tried to do in his pleasant if uninspired Concertstuck, and from the pianist's point of view, one of hte most rewarding of all the 32. However, it's the last five or six of the sonatas that are the greatest, if not the most often heard. The Hammerklavier is among them--and of this work, you must judge for yourself the value. Nothing anyone can say about it seems to change opinions on whether it's one of Beethoven's greatest compositions, or his faults carried to their extreme. It may be heard occasionally over the air, and is available on records in both the original version and an orchestration. Which ever way you may want to get acquainted with, I recommend trying a movement at a time. I can't conceive of anyone talking it all in at once: the first movement is big of itself, the scherzo that follows would have made a good-sized sonata out of the first two movements. But there is still the longest and most complex of all Beethoven's slow movements for piano alone, and the whole thing is topped off with the gigantic fugal finale. The next two sonatas are great enough, but the final of the 32 is the Choral Symphony for the piano, my favorite of the entire set. How it would impress the fan, I don't know, and would most certainly appreciate it if you would find out and let me know. There are only two movements: a stormy allegro preceded by a majestic introduction and a sublime slow section that is in my opinion the greatest set of variations on a theme in existence. If anything in music corresponds to the Apocalypse, this is undeniably it! What else is there to say? The music is there, and if you insist on listening to Tachaikovski, you have less intelligence than any self-respecting fan. Clod Again I refuse to comment on the two packs of Cosmic Circle publications which seem to have been meant for FAPA matter, simply because it's quite impossible to tell which is and which isn't meant for the purpose of this organization. IQ would seem to be, and shows that our New Castle pal can think of something besides Suzzie and the Planet Fantasy Federation, but it would take a better fan than I to unscramble the maze of publications: I suggest that the whole lot with the possible exception of IQ, be stricken from the EAPA records. Which gives me opportunity to mention that barring unforeseen accident, the Degler Memorial Issue of Horizons will be in the next FAPA mailing. I can still use some anecdotes about Degler, or accounts of his adventures--I'm particularly interested in learning what really happened in the Florida everglades, and if any fan was told this, kindly tell me all about it. This DMI will constitute the issue of Horizons skipped over the winter, and bring the publishing schedule up to date again. I can guarantee that it'll be funny and contain lots of hitherto unpublished stuff all I ask is that you do your share by contributing anything worthy of inclusion.