“Landing on an impossibly distant planet, we hear a sound. It roils and hammers, winks and scowls; it ensnares us in nettles, entangles us in vines, sets us afloat on a cloud; it waits, becalmed, then coils and strikes. Could this be music? Or is it some other mode of being, a shape-shifting life form, existing only in dreams?
We have arrived at Planet Beethoven, specifically at two of the weirdest, wildest, most unnerving soundscapes ever conceived – the Piano Sonata No. 29 (“Hammerklavier”) and the Grosse Fuge, in its original context as the gargantuan final movement of the String Quartet No. 13. Both are in the innocent key of B-flat. Careful! The fruit punch has been spiked with Everclear.”
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