Greg Vitercik

Middlebury College · Music

Expressive disjunctions rack almost every gesture of Beethoven's A‐minor String Quartet, Op. 132, obscuring the path of what Joseph Kerman called the “single journey” the work so persuasively pursues. Untangling the processive design played out over the course of the work—the play of inflectional energies between a single half‐step pairing, e and f...

[N]o one loves his predecessors more deeply, more fervently, more respectfully, than the artist who gives us something truly new; for respect is awareness of one’s station and love is a sense of community. Does anyone have to be reminded that Mendelssohn – even he was once new – unearthed Bach, that Schumann discovered Schubert, and that Wagner, wi...