Good Example Of Article Review On Music: Summary Article
OF REALIZATIONS, COMPLETION, RESTORATIONS AND RECONSTRUCTIONS: FROM BACH’S THE ART OF FUGUE TO BEETHOVEN’S TENTH SYMPHONY
Artists leave several unfinished works at the time of their death. With the apparent appreciation of the prowess of many early artists, the review of their works is prevalent. The mortal nature of the artists is the reason for their incomplete works that current artists work on to complete. However, despite the clear understanding that the current artists have about their idol artists, there exists several hindrances towards the realizations and completions of such work.
The realization and completions of works of art is determined by the form of art. “A fragment is one thing to behold. It is another to listen to”
The time that the work was started also affects the motivation behind its completion. Working on a piece over large time differences affects the intended purpose and theme of the piece. An example is the Apollo Belvedere that was worked on in the sixteenth and eighteenth centuries, but whose completion was argued to be inaccurate (96). The circumstances that lead to the incompleteness of the piece of work also affect the possibility of drawing any form of generalization. An example is the Mass, K. 417 a. in C-minor by Mozart. The many variations make it difficult to complete the piece (96).
The form of art in question also affects the completing of a piece of art. As opposed to pieces of the visual arts, the pieces of performing arts are delicate and easily mistranslated if the completion is erratic. An incomplete piece of visual art is easy to complete mentally. Better still, it is easier to accept an incomplete piece of visual art, unlike the case with performing arts. For instance, the works of art master Lembrandt, Reubens and Michelangelo seemed to be of superior quality as compared to some recent complete works. Making sense out of an incomplete musical piece is a hussle that many would rather not go through. As for those that attempt to, the results are mostly inaccurate. However, the argument that “copying the literary style of a musical performer,” is easier than copying that of a visual artist could be the reason behind the prevalence in the completion of musical works. However, the same reasoning does not apply to dramatic works of art.
Continuity completions are difficult to carry out with certainty because of the different circumstances under which they were left incomplete. The amount of work that the composer had worked on also determines the possibility of the realizations, generalizations and completions. For instance, the Tenth Symphony of Schubert completed by Brian Newbould has faced criticism concerning the structure. The questions are rooted in the original intention of the composer and the accuracy in determining it (100).
Barry Cooper agrees that a largely unfinished work leads to extensive wandering into fantasy. However, he also said that, “The more intriguing the unfinished work is, the less the realization requires justification.” (102). He also argues that it also depends on whether the original composer intended to complete the work. The problem with realizations and completions is the possibility of replicating already existing bars, or altering the intended theme of the piece.
It is evident that more accuracy is realized when the completion does not happen too long after the beginning of the work. The works that were completed by the composers’ students realized more originality as compared to those that were worked on much later.
In conclusion, realizations, generalizations and completions are important in seeking the thoughts of the composer. All artists should accept the fact that the accuracy in a completion is relative. Completing a piece is determined by a number of factors such as the time of the original composition, the amount of incomplete work, and the nature of the incompletions. It could be that the original composer did not intend to complete the work initially.
Winter, Robert S. "Of Realizations, Completions, Restorations and Reconstructions: From Bach,
The Art of Fugue to Beethoven's Tenth Symphony." Journal of the Royal Music Assocation, 1991: 96-126, Vol 116 No. 1.
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