then we saw the stars again

Ludwig Van Beethoven, Symphony no.7 (2nd movement)

If I had to choose, if I really were forced to, I would choose Beethoven. And I wouldn’t even have to think too hard about it.

Beethoven comes at this crucial point in history where two influential periods have passed and one is yet to come, and somehow everything that ever was or ever will be has been distilled in Beethoven’s music. He owes as much to the baroque mathematical precision of Bach as he does to Mozart’s knack for the killer tune, the little music that gets stuck in your head and won’t let go. And of course, there wouldn’t be Romantic music without Beethoven.

By that, I mean the German notion of romanticism found right at the beginning of the XIXth Century, that of the artist as the most miserable, misunderstood being on the face of the planet, able to relate to us mere mortals only through his/her singular vision of the world. And in Beethoven’s case, what a sight it is: groundbreaking textural inventions, orchestral outbursts that either terrified or entranced his audiences, and always, always, the most absolutely gorgeous use of notes and counterpoint. Whether it is a symphony or a cello sonata, you are faced with something that transcends you when you listen to Beethoven.

Which brings me to Mono. I know, I wrote about them last week, and I promise that next week I won’t even mention them at all. But if I had to think of a post-rock outfit that really tries to compose in a classical sense of the word, Mono just fits. What they share with countless bands in the post-rock canon (and again, that should not be the only thing people think of when they think of post-rock, but it’s almost always there) is that affinity for dynamic surges and walls of sounds. What sets them apart in my opinion is their obsession with melody.

I love you are there. Maybe more than their latest album, and it’s in you are there that Mono encapsulate that German notion of romanticism: a universe in which beauty, despair, quiet and terror exist at the same time. What really ties the album together is the importance of melody, set against the white noise washes they are famous for. Those of you who have seen them live know just how loud they can get, but to me there isn’t much difference between the way they play loud and the way I like to listen to Beethoven.

The second movement of the seventh symphony was welcomed as an instant success in 1812, when Beethoven started conducting the work. Audiences would typically ask for an encore at the end of the performance, and you can see why: in one simple melodic phrase, Beethoven is able to conjure up elation, expectation and hope, only to crush them and push them away in a constant major/minor contrast. And by the time the whole orchestra takes on the theme, there is nothing else that needs to be said.

————-
The recording is taken from Carlos Kleiber’s superb rendition with the Vienna Philharmonic. I like the fact that he doesn’t shy away from the fact the movement is ‘allegretto’, and doesn’t slow down the tempo too much.

————-

“Yearning” is similar in mood, as is “Moonlight”. How Mono manage to weave these simple, pure melodies into the terrifying sonic outbursts they are famous for is unbelievable.

———-
As usual, pieces here are for illustrative purposes only. If you like what you hear, buy the composer’s records, or go to their gigs and get a t-shirt!