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Index
Acknowledgments
Introduction
Perspectives
Beethoven Quartet Audiences: Actual, Potential, Ideal JOSEPH KERMAN
Performing the Beethoven Quartets in Their First Century ROBERT WINTER
Beethoven: Beyond Classicism MAYNARD SOLOMON
The Patrons and Publics of the Quartets: Music, Culture, and Society in Beethoven's Vienna LEON BOTS
The Quartets in Performance: A Player's Perspective ROBERT MARTIN I I
Notes on the Quartets MICHAEL STEINBERG
The Early Quartets
String Quartet in F Major, Op. 18 no. 1
String Quartet in G Major, Op. 18 no. 2
String Quartet in D Major, Op. 18 no. 3
String Quartet in C Minor, Op. 18 no. 4
String Quartet in A Major, Op. 18 no. 5
String Quartet in B-Flat Major, Op. 18 no. 6
The Middle Quartets
String Quartet in F Major, Op. 59 no. 1
String Quartet in E Minor, Op. 59 no. 2
String Quartet in C Major, Op. 59 no. 3
String Quartet in E-Flat Major, Op. 74
String Quartet in F Minor, Op. 95, Quartett[o] serioso
The Late Quartets
String Quartet in E-Flat Major, Op. 127
String Quartet in B-Flat Major, Op. 130
String Quartet in C-Sharp Minor, Op. 131
String Quartet in A Minor, Op. 132
Grosse Fuge for String Quartet, Op. 133
Glossary
Index
In his recent collection Beethoven Essays, Beethoven's biographer Maynard Solomon subjects the doctr
An enthusiastic violinist about Beethoven's age, Amenda became a close friend and confidant of the y
ciably different from the piece that Beethoven had by now (1801) published-and had evidently sent to
It is not necessary, however, to follow the details of the comparison between the two versions in or
In the I'79os Beethoven attended quartet parties that took place twice a week at the home of an olde
Corresponding to the collegial, amateur ambience of the early string quartet was its aesthetic ideal
Beethoven's interest in Mozart's Quartet in A Major, K. 464, has already been mentioned. Coming upon
The feel of this music is symphonic-the characteristic feel of Beethoven's second-period music. For
In [Beethoven's] last period, the illusion of art concealing art, of communication "without the ador
Minor Quartet and pointed to the 3rd bar in the second line; he says he finds it [evidently the cros
"Everything lies in the first 4 [!] notes at the beginning," Wagner remarked on another occasion,
In Op. 132, the bewildering "interior" movements are the Song of Thanksgiving and also the glassy Al
in German-in the work's tonal architecture.) 13
And to bring up Op. 135 is also to realize how the old ideals of collegiality and musical conversati
There also exists a document that recalls the collegial, amateur phase of the string quartet in Beet
The first audience of the string quartet was an actual audience; the second can only be thought of i
The fame of the Beethoven quartets has rested appropriately on their musical virtues. As might be ex
Yet even professional musicians have difficulty distinguishing between the look of a late eighteenth
Throughout the first half of the nineteenth century, piano arrangements of instrumental works became
Stringed instruments nevertheless remained the steadfast choice of Vienna's musical connoisseurs unt
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