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I always find it upside down to analyze Beethoven's late work using formal/structural aspects as a starting point - akin to judging a wine from the shape of the bottle - when it should be the other way round: the similarities/maturity in expressing certain emotions contained in forms and structures that are rigid to second-rate composers but lucid and flexible in Beethoven's hands.
+1, also for any good composer that came after Beethoven. For example, you can analyze a lot of Mahler in sonata form, but his musical expression completely transcends the arbitrary theoretical construct.
--Andre