"Sometimes I think he sits beside me" Buchbinder about Beethoven No work has left a greater impression on world famous star pianist Rudolf Buchbinder than Beethoven's Diabelli Variations. In "The Last Waltz" he explores the world of Beethoven, publisher Anton Diabelli and the musical Vienna of the early 19th century in 33 literary variations. In a fascinating way he describes his personal approach to music: Why did he play the Diabelli Variations already as a young man? What did he do to save Beethoven's handwritings of the Diabelli score? What ist he thinking about while playing Beethoven? How much Boogie-woogie is there in Beethoven? Why is it a good thing to blindly trust the composer when playing his music? And how did the idea come to life to send Diabelli's waltz to leading composers of the present and to introduce the Diabelli Variations to the 21st century? Just in time for Beethoven's anniversary and Buchbinder's international Diabelli tour in 2020, "The Last Waltz" brings marvellous stories of music and people to life.
I have always thought that conventional musical analysis, whether it is harmonic, formal, or counterpoint analysis, never satisfactorily addresses the deep question of why music affects us so profoundly. Why does performing and listening to music engage us so emotionally that all of a sudden we might think: "What is happening to me?", "Why are my emotions so powerful that I have the sensation of going to another world?" My comments will focus on discussing music from the standpoint of psychoanalysis,under the concepts of two important psychoanalysts: Julia Kristeva and Alain Didier-Weill. It may prove helpful to understanding our relationship with music, whether we are listeners, performers or composers. A work of art, such as a symphony, has an existence, a history and a place that constitute it as the object of the aesthetic experience. Having said that, this work will stress the point that psychoanalysis presents us with a new way of looking at things - not only at music or art. It is in this way the departure point for an aesthetic revolution, in the sense of a new regimen of what we hear (and see) in the world.