I don’t know who transcribed or “transfonetized” German words and names into Russian, but it seems that these “translators” have never heard how these words sound in German.

Freud – it doesn’t sound like FREID, but FREUD!

Kreutzer – it doesn’t sound like KREITSER, but KREUTZER!

About Goethe (in fact, instead of “oe”, the surname is written with “O umlaut”, that is, the sound “O” with two dots above it for precise pronunciation) and Heine.

In one of my frolics, I proposed creating several alphabets of the Russian language: Native for “internal” purely Russian use and “FOREIGN” for the correct pronunciation of foreign letters, which do not have phonemes in Russian, in particular, “H” – which is NOT pronounced like the Russian “X” and therefore the words are distorted in pronunciation and spelling. beyond recognition.

Like “GISHPAN,” which means Spanish.

Or the “GUDZON” River, when the river is named after the captain who sailed it “HUDSON”!

I turn to the sonata.

(By the way, violinist Rudolf Kreutzer, to whom it was dedicated, REFUSED to perform it!)

The first movement of this long and boring sonata sounds very aggressive, downright cruel. The blows of the whip are heard, mercilessly lashing the body of a living being, on the nerves, on the soul…

It’s not the piano that creates these associations, but only the violin. A piano device in which hammers strike the strings of a soundboard CANNOT reproduce the sounds of whipping (similar to the harpsichord and clavichord, the predecessors of the piano, plucked instruments), but the violin does it with ease.

The cruel sounds, the cruel rhythm of these slaps.

The second part is spreading the consonant porridge on a plate.

The third is a dance one, but it also features onomatopoeia of the violent musical phrases of the first part.

I DON’T LIKE THIS WHOLE SONATA!

I like Leo Tolstoy’s idiotic novel of the same name even less.

An old fogey aged 59-62, prostatic and impotent, suddenly became jealous of his also not too young wife, (45-48) Sofia Andreevna Berz, whom he forced to give birth sixteen times to the composer Taneyev on his bestial whim!

Obvious signs of senility, paranoically enhanced by age-related loss of “male” capacity.

If he had to suffer, do it quietly and without near-literary hysterics!

No, the mean soul did not allow him it, and, like Lokhankin, many years BEFORE the appearance of this “intellectual,” Leo Nikolaevich also “suffered openly, majestically, he poured out his grief with tea glasses, he reveled in it. Great sorrow gave him an opportunity to reflect once again on the significance of the Russian intelligentsia, as well as on the tragedy of Russian liberalism.”

Well, just like that: “the Countess runs to the pond with a changed face!”

I don’t think there’s any need to remind readers that I’m not a musician or a writer…

7 IV 2026