Originally posted by ferneyhoughgeliebte
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The great codas
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One of my favourite codas is that of the last movement of Beethoven's F minor quartet, op. 95. The minor-keyed melancholia of the main theme stops quietly on a Tierce de Picardie chord, then...
... completely new F major thematic material, unrelated to anything that has gone before, skits along at twice the tempo of what has preceded it, nullifying completely the slightly lugubrious mood of the movement and ending in the highest of spirits.
Pure magic.
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Originally posted by verismissimo View PostThe end of Sibelius 5. What was he thinking?
My tutor at university reckoned that there was so much contrapuntal richness that all that daylight was needed to clear the air. He was a smart guy but I wasn't completely convinced....
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Originally posted by ferneyhoughgeliebte View Postthe coda that ends Elgar's Second Symphony.
That is one of three that has reduced me to rubble over the years: total magic everytime, but one specific instance is particularly memorable
The other two are:
- trombone chorale and final chord of Mahler 6
- coda of Mahler 9 in a live performance by Bernstein and the Concertgebouw"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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Originally posted by Tapiola View PostOne of my favourite codas is that of the last movement of Beethoven's F minor quartet, op. 95. The minor-keyed melancholia of the main theme stops quietly on a Tierce de Picardie chord, then...
... completely new F major thematic material, unrelated to anything that has gone before, skits along at twice the tempo of what has preceded it, nullifying completely the slightly lugubrious mood of the movement and ending in the highest of spirits.
Pure magic.
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