By Nancy November
Beethoven's middle-period quartets, Opp. fifty nine, seventy four and ninety five, are items that interact deeply with the cultured rules in their time. within the first complete contextual examine of those works, Nancy November celebrates their distinctiveness, exploring their reception background and early functionality. In special analyses, she explores ways that the quartets have either mirrored and formed the very inspiration of chamber track and gives a brand new old realizing of the works' actual, visible, social and ideological elements. within the method, November presents a clean critique of 3 key paradigms in present Beethoven stories: the point of interest on his overdue interval; the emphasis on 'heroic' type in discussions of the center interval; and the assumption of string quartets as 'pure', 'autonomous' artistic endeavors, bring to an end from social moorings. Importantly, this examine indicates that the quartets surround a brand new lyric and theatrical impetus, that is a necessary a part of their designated, explorative personality
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Extra info for Beethoven's theatrical quartets : opp. 59, 74, and 95
Autogr. Beethoven Grasnick 2; reproduced as W. ), Ein Skizzenbuch zu Streichquartetten aus op. 18. See also R. ), Ludwig van Beethoven: A Sketchbook from the Summer of 1800, 2 vols. (Bonn: Beethoven-Haus, 1996). On the early reception of the Trios Op. 1, see W. Wiese, Beethovens Kammermusik (Winterthur: Amadeus Press, 2010), pp. 116–17; on the reception of the Trios Op. 70, see A. Richards, The Free Fantasia and the Musical Picturesque (Cambridge University Press, 2001), 208–9. 37 38 The early nineteenth-century Viennese string quartet deployed a range of compositional techniques and expressive devices, including fragmentation, parody, ironic reversal and vocality.
299. v. v. ‘Soirées ou séances musicales’, Encyclopédie méthodique, vol. II, pp. 299 and 374. On the eighteenth-century idea of sympathy, see D. Marshall, The Surprising Effects of Sympathy: Marivaux, Diderot, Rousseau, and Mary Shelley (University of Chicago Press, 1988). G. Cambini, Nouvelle Méthode théorique et pratique pour le violon (Paris: Naderman, c. 1803; repr. Geneva: Minkoff, 1974), p. 20. 21 22 The early nineteenth-century Viennese string quartet by the sight of the performance, and the ﬁrst violinist in particular.
18, 2 vols. (Bonn: BeethovenHaus, 1972–4), vol. I, pp. 46–7 (this is a transcription of pp. 8–9 of the original, which is reproduced in vol. II). 38 This breaking down of the long-standing musical style categories (chamber, church and theatre) was unsurprising in Viennese string quartet composition: several prominent composers of these works were heavily involved in the theatre, as performers, composers and directors. 39 Beethoven, too, was substantially involved in composing theatrical music in the period during which he worked on the middle-period quartets.
Beethoven's theatrical quartets : opp. 59, 74, and 95 by Nancy November