van Beethoven's worst mistake

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  • kea
    Full Member
    • Dec 2013
    • 749

    #91
    Originally posted by Bryn View Post
    You could always try tagging http://www.scoreexchange.com/mp3play...95350235037166 onto a pause following the 'slow' movement of the 9th. I know it's only a less than wonderful midi realisation of Starr's orchestration, but ...
    Link does not work for some reason... and I didn't know there was an orchestration at all, actually. I am most intrigued by this.

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    • Bryn
      Banned
      • Mar 2007
      • 24688

      #92
      Originally posted by pastoralguy View Post
      Gosh, I didn't know that ...

      You still don't. It was but a very theme similar to that of the Allegro appasionata of Op. 132 which was abandoned in favour or the choral finale of Op. 125.

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      • Bryn
        Banned
        • Mar 2007
        • 24688

        #93
        Originally posted by kea View Post
        Link does not work for some reason... and I didn't know there was an orchestration at all, actually. I am most intrigued by this.
        Hmm. Works when I test it from here. Anyway, as my updated message points out, it's the third movement, not the finale. I don't know of an orchestration of the finale of Op. 132 either, but there may well be one or two out there somewhere.

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        • EdgeleyRob
          Guest
          • Nov 2010
          • 12180

          #94
          I think Roehre has posted in the past about a possible abandoned non choral finale.

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          • kea
            Full Member
            • Dec 2013
            • 749

            #95
            Originally posted by Bryn View Post
            [It would appear the Mr. Starr did not get round to orchestrating the Allegro appassionato, so "Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart" will have to do.]
            That would make a rather odd finale to the 9th symphony I dare say :]

            I've built up this whole sound picture in my head of the instrumental finale, starting with the horror fanfares, recitative somewhere in between Opp. 125 and 132, references to previous movements, Allegro appassionato! Take a breather 5 minutes in or so for an extended slow fugue (minor key, very lugubrious), interrupt with the Alla marcia from Op. 132, horror fanfares again, recitative, back to Allegro appassionato, end in D minor (no picardy 3rd) ideally pp. Quiet ending in a Beethoven symphony for a change.

            Then the 10th symphony is a glorious, 45-minute Handel pastiche which makes the Royal Fireworks Music sound like chamber music.

            I wonder if there's a fanfiction site for composers?

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            • EdgeleyRob
              Guest
              • Nov 2010
              • 12180

              #96
              Originally posted by kea View Post
              That would make a rather odd finale to the 9th symphony I dare say :]

              I've built up this whole sound picture in my head of the instrumental finale, starting with the horror fanfares, recitative somewhere in between Opp. 125 and 132, references to previous movements, Allegro appassionato! Take a breather 5 minutes in or so for an extended slow fugue (minor key, very lugubrious), interrupt with the Alla marcia from Op. 132, horror fanfares again, recitative, back to Allegro appassionato, end in D minor (no picardy 3rd) ideally pp. Quiet ending in a Beethoven symphony for a change.
              Then the 10th symphony is a glorious, 45-minute Handel pastiche which makes the Royal Fireworks Music sound like chamber music.

              I wonder if there's a fanfiction site for composers?
              If only the great man had seen sense

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              • Bryn
                Banned
                • Mar 2007
                • 24688

                #97
                Originally posted by EdgeleyRob View Post
                If only the great man had seen sense
                He did. That's how the sketched theme for a putative orchestral finale for the 9th came to be put to one side, later to be slightly modified and transposed for use in the finale of Op. 132.

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