dep@allegra.UUCP (Dewayne E. Perry) (05/22/84)
Re: the well-loved hack composer who stole from the poor unknown (and probably still unknown) composer. Not likely (but if you now of one such, there is a good PhD thesis in historical musicology), but here is a relevant and instructive anecdote. One of Brahms' students was analysing a composition of Brahms and pointed out that one of themes was from a piece by another composer. Brahms' reply: "Any ass can see that!" Moral: its what you do with it that is important.
cbf@allegra.UUCP (Francois) (05/22/84)
> One of Brahms' students was analysing a composition of Brahms > and pointed out that one of themes was from a piece by another > composer. > Brahms' reply: "Any ass can see that!" Just for the record, the theme in question is the C-major chorale tune from the finale of his first symphony ("Beethoven's Tenth" -- how I hate that nickname), which is very reminiscent, though not a direct quotation, of the chorale (same key) in Beethoven's Ninth. A lot has been made of the similarities between Brahms' C-minor symphony and Beethoven's C-minor (#5) and D-minor symphonies. For my part, I, heresy!, prefer it to either of the Beethovens. Now, did you know that Brahms' Double Concerto contains a whole bar in its first movement which is lifted directly from Beethoven's Ninth? It's so cleverly integrated, it's practically invisible. -- "Aimez-vous Brahms?" Charles B. Francois {...,decvax}!allegra!cbf
ron@brl-vgr.ARPA (Ron Natalie <ron>) (05/24/84)
Sort of reminds you of the PDQ Bach "Theme with Variations." Professor Schickele points out that the interesting point here is that the variations have nothing whatsoever to do with the theme. They must be variations on some other theme. -Ron