{"id":414,"date":"2010-08-23T06:17:24","date_gmt":"2010-08-23T06:17:24","guid":{"rendered":"http:\/\/www.artsjournal.com\/pianomorphosis\/wp\/2010\/08\/luigi_beethoven_-_postmoderni\/"},"modified":"2011-10-20T18:02:47","modified_gmt":"2011-10-20T22:02:47","slug":"luigi_beethoven_-_postmoderni","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/pianomorphosis\/2010\/08\/luigi_beethoven_-_postmoderni.html","title":{"rendered":"Luigi Beethoven — postmodernist"},"content":{"rendered":"

Before, I’ve speculated that many of Beethoven’s texts read as parody — a mockery of 18th-century styles and practices.\n<\/p>\n

\nIn some postmodern music — John Zorn or Rzewski’s People United<\/em><\/a> — musical styles, harmonic behaviors, or keyboard textures come on and off like readymade shirts in a fitting room.\n<\/p>\n

\nThough now it may be harder to discern (our subtle reception of old stylistic distinctions may be dulled), Beethoven does something remarkably similar. In a single parodistic passage of piano writing, three distinct styles come and go.\n<\/p>\n

\nHere in the piano part of the rondo from Beethoven’s C-Major Concerto, the violin virtuoso gives way to Bachian keyboard chromatic contrary motion (mm. 60-61), and then Italian opera buffa singing (or playground NA-na-na-na-NA-na!).\n<\/p>\n

\n\"Beethoven15AJ.jpg\"<\/p>\n","protected":false},"excerpt":{"rendered":"

Before, I’ve speculated that many of Beethoven’s texts read as parody — a mockery of 18th-century styles and practices. In some postmodern music — John Zorn or Rzewski’s People United — musical styles, harmonic behaviors, or keyboard textures come on and off like readymade shirts in a fitting room. Though now it may be harder […]<\/p>\n","protected":false},"author":2,"featured_media":1156,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[121,47,118,124,123,119,120,122],"class_list":{"0":"post-414","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"tag-appropriation","9":"tag-beethoven","10":"tag-eclecticism","11":"tag-first-piano-concerto","12":"tag-opus-15","13":"tag-parody","14":"tag-postmodernism","15":"tag-stylistic-appropriation","16":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/414","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/comments?post=414"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/414\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media\/1156"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media?parent=414"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/categories?post=414"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/tags?post=414"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}