Beethoven concerto - Kreisler cadenza
There is a passage towards the end of the Kreisler cadenza which to my ears always sounds awful and out-of-tune, even when played perfectly. If it bugs you as much as it does me I'm sure you know where I mean (I can't find a copy on IMSLP to include a bar number). What surprises me is that so many violinists actually play this passage. Some do omit it - I can't remember exactly who, but it seems to be divided about 50/50. I have recordings of Oistrakh and Ida Haendel who both play this passage and it still sounds dreadful (to me) even when played perfectly, as they do.
Does anyone else share my distaste for this passage, and my surprise that some many top players do actually play it?
Can you give the time-mark in this video where Oistrakh plays?
Starts around 21'22".
It's a modulation, and I expect you're hearing it as being out of tune because you are thinking of a different underlying harmony.
Lydia - this is part of the puzzle. I can hear the modulation, but it still sounds 'wrong' to me. I'm interested in whether others have the same perception or not, or is it just a peculiarity of my hearing/brain/harmonic thinking. It seems that it it sounds OK to you.
I think that it sounds right to me :)
Sounds fine to me. Try the Zino Francescatti recording (1950, Ormandy, Philadelphia Orchestra).
It sounds unexpected; I'd concede that. Wrong? No. Dreadful? No again. Does it maybe step outside the realm of Beethoven's harmonic language? I am not good enough in music theory to answer that last question but maybe the answer is yes.
As a composer, Kreisler is one of the hold-overs from the Romantic era. But occasionally, like this spot, he shows that he is aware of 20th cent. trends.
Thanks to everyone for some interesting responses. I think Albrecht has maybe hit the target - I too have been thinking similarly.
I'm interested in trying to write my own cadenza for the Beethoven concerto. Does anybody know of any good resources that might be a starting point for tackling this project? I have never written a cadenza before, although I do quite a bit of improv : )
You should do a meta-Schnittke and incorporate quotations from the Schnittke cadenza. Poly-poly-stylistic and other double-mirror trickeries.
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