e-mail letter from Patrick to Fred on 28 Jan ‘1, which Patrick sent to me on 8 Sep ’15 as part of a large collection.
Date: Sun, 28 Jan 2001 15:03:53 +0100
Subject: Re: musick & cosi varii
yessir, fred, i loved an equal music. it seems a lot of young musicians don’t, but young folks in general are not so romantic as they ustabe. sentimentality they hold against writer, composer, or expressions of feeling in the flesh. not all, but so many it’s remarkable.
the beethoven quintet: we actually have the score and parts here in the house. there are three, and the one mentioned is a transcription by beethoven his own self of that fabulous trio, op. 1. nº 3 — haydn suggested (upon hearing the three piano trios of op. 1) that beethoven not publish this one. why? it is the first truly great piano trio. haydn’s trios, the moderatos, the adagios are beautiful; but the last movements are written as if to hurry the aristos from the room, silly conversations without any edge of devotion. except of course the tzingara trio in g major — a rousing last tune in that. but the last mvmt of beethoven´s 3rd trio lives up to the promise of the others. jealousy? or was haydn trying to advise the younger man not to be so serious — if he would have the nobles in thrall and snag a protector.
The op. 134 is beethoven´s four-hand arrangement of the grosse fuge op.133, which was itself originally the finale of 130. good ole sir george grove and stanley sadie…
by the by there is a brahms piano quintet with a similar tale attached. he wrote it for 2 pianos, but after reading it with clara schumann, she suggested it should be with strings, and — the power she must have felt — he did it. while we have heard the quintet often, next summer we will hear the original 2 piano version; a curiosity, no? just my meat.
this spring we are trying a new group formed recently in Palma: piano with wind quintet. one of my favorite combinations, with fascinating repertoire, much of it dusty in archives. if the group works well, and it should — they are all top performers, then here in the Festival we’ll go through some lovely things: Magnard, Onslow, Thuille, Rheinberger, Louise Farrenc…all similar groups stick to the same ole stuff: the Poulenc, the Françaix.
will watch for ken burns. sounds good.
don´t lose your voice entirely — we still have things to speak about when we meet!
all the best,