features
Battalion/Page 5B
April 1, 1982
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Picnic in the park
staff photo* by John Ryan
Lee Billingsley, a graduate student in geology from
College Station, enjoys a picnic lunch with his
wife, Joanne, a graduate student in Health
Education, and their children, Michael, 1, and
Anne, 3, next to Mount Aggie. Picnic weather has
arrived.
United Press International
Ludwig van Beethoven car
ried his musical egotism and his
demand for perfection to such
an extreme that sometimes he
looked down on his own com
positions.
An interesting example of
Beethoven’s second-guessing of
his genius occurred late in 1800
when he recalled a string quartet
for a repair job.
Beethoven had composed the
quartet in F major in honor of a
fine violinist, Karl Amenda, who
was also his friend, finishing it
late in June 1799. He must have
been satisfied with the quartet at
that time because he sent it to
Amenda.
But several months later
Beethoven began having second
thoughts about the composition
and decided it needed improve
ment. After revising the work,
he asked Amenda to discard the
original, which he had titled
Opus 18, No. 1.
Amenda obeyed Beethoven’s
odd request and the original was
almost forgotten. After the
death of Beethoven, his benefi
ciaries made the original score
available to musical scholars but
it was not published until 1904.
There is no evidence Amen
da ever played the original quar
tet publicly or had rehearsed it.
Beethoven had not broken it
down into separate parts for
violin, viola, cello and bass —
another indication of his disen
chantment with it.
Perhaps the score again
would have been forgotten had
it not been published again late
in the 20th Century in an age
when classical music was en
joying new popularity because
of improvements in sound re
production in the recording in
dustry.
Dr. Lewis Lockwood, profes
sor of music at Princeton and
then Harvard and a specialist on
Beethoven, sent a copy of the
score to the Pro Arte Quartet
and asked that it be played at a
scheduled concert at Princeton
in 1980.
Their performance was a
triumph and late in 1981 the Pro
Arte Quartet recorded Beeth
oven’s Quartet in F major, the
original version of Opus 18, No.
1, on the Laurel Record label.
Beethoven made structural
changes in the first and fourth
movements, especially the tonal
transformations in the recapitu
lation.
Comparisons can be made by
listening to one of the several
recordings of the revised quar
tet and checking it against the
Laurel disc. There is an excel-
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Dr. Robert Leslie, Pastor
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SUNDAY:
Worship at 8:30AM & 11:00AM|
Church School at 9:30 AM
College Class at 9:30 AM
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Device warns parents
if baby stops breathing
United Press International
FARMINGTON, Conn. —
Doctors are offering a special
home warning device to parents
who fear their babies will be
come victims of “crib death.”
The electronic device is
offered under a new program at
the University of Connecticut
Health Center and is intended
for infants who suffer from a
disorder called apnea.
Victims breathe sporadically
and in some cases die or suffer
brain damage before they start
again.
Dr. Jonelle Rowe, head of the
new apnea program at U-Conn’s
John N. Dempsey Hospital, said
many parents whose babies suf
fer from apnea mistakenly think
their offspring will suffer “crib
death.”
The electronic warning de
vice monitors infant heart and
breathing rates.
If the baby stops breathing
for more than 20 seconds, an
alarm sounds warning parents
to call for emergency help and
begin lifesaving techniques.
Rowe said the high risk
period for babies with the dis
order is from six to nine months.
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lent one by the Guarneri quartet
on the RCA Victor label.
The casual listener might not
even be able to tell the differ
ence between the two versions.
Some classical music buffs also
might wonder why Beethoven
went to the trouble to make the
changes since the original was an
excellent composition.
The answer probably lies in
Beethoven’s nature. He was
sometimes unpredictable, and
while he was always racking his
brain for new ideas and melo
dies, he was known to have used
one theme in at least three com
positions — first in one of his
dances, then in the overture to
“Creatures of Prometheus,” and
finally in his third, or Eroica,
symphony.
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C-41
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