# Begin with the themes



## Roger Knox (Jul 19, 2017)

With eighteenth- , nineteenth- , and much twentieth-century music, formerly listeners were advised to focus on themes. The subject in a fugue. The first and second themes of a first movement sonata-allegro form (e.g. in sonatas, string quartets, symphonies). In articles and reviews, prefaces to musical scores, program notes, and liner notes of recordings, the themes were referred to -- sometimes along with the printed melody. The implicit notion: that the listener would _learn_ the main themes and be able to recognize the themes -- better yet to hum, whistle sing or play them.

Doing the Neglected Orchestral Works by Late Romantic German & Austrian Composers thread, I noticed that retaining the themes had become more difficult than it used to be for me. Mainly because of my advancing years, and also because I was running through a lot or repertoire. Also, a sense nowadays that it's become passé to spend time on themes when more erudite commentary is what is prized. My old caveat "You don't know the music unless you know the themes" was violated.

Now I plan to return to a _themes first policy_ where it's appropriate for the musical style. Any comments or suggestions?


----------



## mbhaub (Dec 2, 2016)

Roger Knox said:


> Doing the Neglected Orchestral Works by Late Romantic German & Austrian Composers thread, I noticed that retaining the themes had become more difficult than it used to be for me. Mainly because of my advancing years, and also because I was running through a lot or repertoire. Also, a sense nowadays that it's become passé to spend time on themes when more erudite commentary is what is prized. My old caveat "You don't know the music unless you know the themes" was violated.


I may have something to do with advancing years, I have listened to a lot of neglected, obscure music over the years and experience the same phenomenon: retaining it in the head is difficult.

But...I don't blame it only on age. Even when I was a youngster there was music that stuck in the mind better than others. Tchaikovsky, Dvorak, Beethoven, Grieg...the greats...were easily assimilated. On the other hand, symphonies by Glazunov, Bax, Rubinstein and others would go in one ear and out the other. Maybe that's part of what made the masters the masters - without thinking about it they could write music that the brain absorbed, while lesser composers couldn't. Great pop tunes from the '60s are no different really; the catchy ones stuck in the head and I still remember them. But there was a sure a lot that I forgot.

Ageing does effect me musically one other way that is irritating: I used to be able to memorize a full orchestral score with aplomb. Reading through it a few times and that was all it took - made conducting much easier not being chained to a score in rehearsal or performance. But nowadays? Hah! Doesn't happen so quickly, easily, or accurately. Maybe that's why so many conductors stop adding to their repertoire around age 70, Stokowski being an exception.


----------



## Roger Knox (Jul 19, 2017)

mbhaub said:


> It may have something to do with advancing years, I have listened to a lot of neglected, obscure music over the years and experience the same phenomenon: retaining it in the head is difficult.


If memorable melodies are actually an important thing that separates master composers from the others, a lot of critical writing on music over the past 100 years would be cast in doubt. Like you, I'm more interesting in reflecting on what actually happens mentally than in striking up ideological arguments. I remember how excited I was taking down the theme of Beethoven's _Emperor Concerto_, last movement, more than 50 years ago. Now I hope to re-capture some of that excitement rather than get buried in detail.


----------



## Piano4 Life (May 12, 2020)

Good tutorial for beginners:


----------



## Ethereality (Apr 6, 2019)

The theme for today is:
Intervals, scale degrees, rhythm, part movement, form, and instrumentation.


----------

