the reason i didn't catch this earlier was that it was added at the last minute. the program was initially supposed to start with what the dso decided was specifically "black music" (and i'll have a bit to say about that when i do the review) and end with the same ravel piece i saw a few weeks ago, but the pianist had to drop due to tendinitis. so, they brought somebody else in at the last minute to do what is one of beethoven's most classic works.
i hope they didn't pick beethoven in order to buy into the urban legend that he was black. the arguments i've seen would lead to the conclusion that he might have maybe been distantly arabic - if you want to pull something out of his tonality, that's really what you pull out, and these reaching deductions about some paintings at most have him looking a little tanned, rather than black. it's supposedly due to the idea that his mother came from an area that was once under moorish control. in fact, the idea that the moors were black is itself just a eurocentric myth that should really be vigorously corrected across the literature; european art constantly depicted the moors as dark-skinned, and they of course were, but they were dark-skinned in the sense that an arab is, and not black like subsaharan africans. that is an anachronism that we've picked up fairly recently. so, shakespeare's contemporary audience would have actually known that othello was an arab. what the moors really did was create a neo-carthaginian state that was fundamentally semitic in every way, not african. but, i don't think anybody actually takes this idea seriously as it isn't based in any hard evidence, and i'll remind you that there is an urban legend that mozart was black, too. rather, this idea seems to get it's support from a strain of historical revisionism called "afrocentrism" that essentially argues that everybody was black - including historical figures like darius (iranian) and cleopatra (greek) that quite clearly were not. maybe, though, there were good reasons to pull the ravel from a concert about black music...beethoven was at least about liberty, equality and fraternity, even if his mother was actually polish and he was, actually, pretty much lily white.
this piece is perhaps beethoven at his most cliched, and you can kind of interpret that in a variety of ways. is it therefore beethoven at his peak? or does it get a little bit expected, in a sense? regardless, it's impossible to deny the sheer enjoyment of it, if you love the aspects of beethoven's work that he is still best known for all of these years later - the raucus piano parts, the sheer fucking with christian tonality and the nice, catchy melodies that he wraps all of that into. we get beethoven as barnstorming revolutionary, beethoven as purveyor of catchy tunes for the masses and beethoven as epic, brilliant troll all at once. it's hard to present an argument against such compactness.
but, it is a little predictable in terms of following his own previously established form, for better or worse.
if you ever get a chance to see this, jump at it. there's a magic to it. really. i'm glad i stayed up all night for it...
