Liliputins in German- 6175

Jedesmal wenn ich die Kreutzersonate hoere, geht mir das Messer in der Hose auf ... "
Leo Tolstoy

Liliputins auf Deutsch: Was zum Teufel sind die?
http://stihi.ru/2025/09/09/7764

"Jedesmal wenn ich die Kreutzersonate hoere, geht mir das Messer in der Tasche auf ..." is not a direct quote from Tolstoy's novella The Kreutzer Sonata. It is often attributed to him, but it's more of a paraphrase or a popular interpretation of the book's central theme. The quote translates to "Every time I hear the Kreutzer Sonata, a knife opens in my pocket."

The quote perfectly captures the raw and volatile emotions of the novella's protagonist, Pozdnyshev. In the story, he describes how music, especially Beethoven's "Kreutzer Sonata," can stir up dangerous passions and lead to a loss of self-control. He sees music as a powerful, almost hypnotic force that can blur the line between beauty and sensuality.

Pozdnyshev's words and actions throughout the story show his deep-seated distrust of beauty and passion. He is convinced that the "Kreutzer Sonata" was instrumental in his wife's infidelity and ultimately, her murder. For him, the music isn't just a beautiful piece of art; it's a catalyst for the very passions that destroy his life.



***
jemandem geht das Messer in der Tasche auf

Bedeutungen:

[1] umgangssprachlich: jemand wird wuetend, jemand wird zornig

**
This misattributed quote has become a popular and powerful way to summarize the novella's intense and controversial message. It's a vivid image that encapsulates the story's argument about the destructive power of unchecked emotion and the potentially dangerous allure of art.

***

story of Beethoven's Kreutzer Sonata - Rachel Barton Pine  Rachel Barton Pine, violinist 12.1K subscribers  Subscribe
Violinist Rachel Barton Pine tells the story of Beethoven's Kreutzer Sonata in her own words by highlighting its original dedication to Black violin virtuoso George Bridgetower. The dedication was later rescinded, but Pine's research emphasizes Bridgetower's significance to the piece and his historical erasure.
Pine's account is based on her research into Bridgetower's life and the history of Black classical composers, a project she's championed through her Rachel Barton Pine Foundation.
The origin story of the "Bridgetower" Sonata
The original premiere: In the spring of 1803, Beethoven collaborated with the young, flamboyant, Afro-Polish violinist George Bridgetower, who was visiting Vienna. The two men quickly became friends and scheduled a concert together.
A rush to finish: For the performance, Beethoven rushed to finish a new violin sonata, which Bridgetower had to sight-read with Beethoven at the piano. The performance was a great success.
The fateful dedication: Beethoven initially dedicated the work, his Violin Sonata in A major, Op. 47, to his friend Bridgetower. However, after a later falling out over a minor insult, Beethoven furiously withdrew the dedication.
The new name: Before its publication in 1805, Beethoven rededicated the work to French violinist Rodolphe Kreutzer. Ironically, Kreutzer never performed the piece and reportedly found it "unintelligible".
Why Pine calls it the "Bridgetower" Sonata
Pine explains that the intensity and technical demands of the sonata reflect the performance style of Bridgetower, not Kreutzer.
Historical accounts describe Bridgetower as a violinist of "amazing" technique and "much intensity".
In contrast, other violinists of the time, such as Franz Clement (for whom Beethoven wrote his Violin Concerto), were known for their delicacy and refinement.
Pine argues that erasing Bridgetower from the sonata's history also erases the influence of Black musicians on classical music. Her work with the Music by Black Composers project seeks to restore this history.
Later connections and interpretations
Pine's story of the Kreutzer Sonata often includes its broader legacy, notably Leo Tolstoy's 1889 novella, also titled The Kreutzer Sonata.
The novella features a man's murderous jealousy, which is inflamed by the music of Beethoven's sonata, as his wife plays it with a male violinist.
The raw emotional power of the music is a central element of the story, which explores themes of love, infidelity, and murder.
This connection cemented the sonata's dramatic reputation, but as Pine notes, this has nothing to do with the original circumstances of its composition for Bridgetower.


***

beethoven's famous Fraser Sanada has
0:03
absolutely nothing whatsoever to do with
0:06
the violinist Rudolph printer it was
0:09
actually written for one of the great
0:11
black violin virtuosos of the 18th
0:13
century gorge bridge tower risk our
0:16
starting his career of the child prodigy
0:18
in London where he was very successful
0:20
and known by the fanciful name the
0:23
African Prince his patrons were many
0:26
among the aristocracy including the
0:28
Prince of Wales when he was in his early
0:31
20s he decided to expand his career by
0:34
going off to Germany and Austria to play
0:36
crossers he was introduced to Beethoven
0:39
and Beethoven was so impressed with his
0:40
play that he immediately decided to
0:42
write a sonata for him he already had
0:44
one movement completed this was a
0:46
leftover movement that he had originally
0:49
written for his sonata number six which
0:51
was also an a major but it turned out
0:53
that that moment was too intense for the
0:55
gentle sonata number six so he set it
0:58
aside and brought a different last
0:59
movement so he had more movement ready
1:01
and all I needed to do was write a super
1:03
movement to go with and he have shot it
1:05
well the concert date was set
1:08
concert beethoven he hasn't finished in
1:10
second movement a few days before he was
1:14
still working on them the day before
1:15
still wasn't done towers you can a man
1:18
and must have been getting pretty
1:19
frustrated at this point finally at four
1:22
thirty in the morning Beethoven finished
1:24
the person's egg of movements well he
1:26
quickly handed the music to the copyist
1:28
so the copies could write out the
1:29
separate violin part the copyist worked
1:32
frantically but the concert was in
1:38
those days thank goodness is not that
1:41
way more
1:43
but anyway in three and a half hours of
1:46
working as fast as he could the copyist
1:48
had only finished the first movement so
1:50
a British tower could play the first and
1:52
third movements off of his own part but
1:54
when it came for the second movement he
1:56
had to actually go over stand by the
1:58
piano and look over the Cohens shoulder
2:00
and read the violin line off the pan
2:02
yogurt well not only did he succeed in
2:05
doing this did it so brilliantly
2:07
that the audience along the contract so
2:10
much that they actually applauded the
2:12
second movement and wouldn't stop
2:14
applauding until Beethoven and British
2:16
power repeated the whole thing before
2:18
going on to the third movement
2:20
it was a great success and Vito can
2:23
dedicated the Sonata to British tower
2:25
however as the rumor has it become a new
2:29
bridge tower had a fight over a girl and
2:32
so they coping with drew the dedication
2:35
to Bridgetown
2:42
he has a dedicate this not at a someone
2:45
and was one of the most famous French
2:47
mile limits at the time so huge
2:49
footprints would name on there
2:51
ironically right you're never even ever
2:53
played the crater sonata
2:58
so writers name will live on forever and
3:01
we forgot about corbridge chatter so the
3:05
world the story is don't ever have a
3:07
fight with a composer
3:10
definitely British so actually bridge
3:13
tower as all while witness did at that
3:16
time was a composer himself
3:18
unfortunately all of his works have been
3:20
lost so the only record that we have at
3:22
this blingee is this sonata number 9
3:25
hydrate opening and he must have been a
3:27
completely amazing violinist because
3:30
this Sonata is the most difficult of
3:32
Beethoven wrote and he obviously wrote
3:34
it with bridge towers playing in mind
3:36
and think that bridge tower plated at
3:38
eight in the morning looking over babe
3:42
so here is Beethoven's so-called right