The first detailed study of string quartets in late-eighteenth and early-nineteenth century Europe through the work of nine scholars who explore little-studied aspects of this multi-faceted genre.
String Quartets in Beethoven's Europe is the first detailed study of string quartets in late-eighteenth- and early-nineteenth-century Europe. It brings together the work of nine scholars who explore little-studied aspects of this multi-faceted genre. Together, this book's chapters deal with compositional responses to Beethoven's string quartets and the prestige of the genre; varied compositional practices in string quartet writing, with a particular emphasis on texture and performance elements; and the reception of Beethoven's string quartets ca. 1800. They include discussions of quartets composed for the amateur and connoisseur markets in Beethoven's Europe; virtuosity, the French Violin School, and the quatuor brillant; the relationship between quartet composers and their audiences during Beethoven's era; and the cross-pollination of quartet styles in Europe's musical centers such as Vienna, Paris, and St. Petersburg.
String Quartets in Beethoven's Europe is the first detailed study of string quartets in late-eighteenth- and early-nineteenth-century Europe. It brings together the work of nine scholars who explore little-studied aspects of this multi-faceted genre. Together, this book's chapters deal with compositional responses to Beethoven's string quartets and the prestige of the genre; varied compositional practices in string quartet writing, with a particular emphasis on texture and performance elements; and the reception of Beethoven's string quartets ca. 1800. They include discussions of quartets composed for the amateur and connoisseur markets in Beethoven's Europe; virtuosity, the French Violin School, and the quatuor brillant; the relationship between quartet composers and their audiences during Beethoven's era; and the cross-pollination of quartet styles in Europe's musical centers such as Vienna, Paris, and St. Petersburg.
We do not understand music--it understands us. This aphorism by Theodor W. Adorno expresses the quandary and the fascination many listeners have felt in approaching Beethoven's late quartets. No...
We do not understand music--it understands us. This aphorism by Theodor W. Adorno expresses the quandary and the fascination many listeners have felt in approaching Beethoven's late quartets. No...
We do not understand music--it understands us. This aphorism by Theodor W. Adorno expresses the quandary and the fascination many listeners have felt in approaching Beethoven's late quartets. No...
We do not understand music--it understands us. This aphorism by Theodor W. Adorno expresses the quandary and the fascination many listeners have felt in approaching Beethoven's late quartets. No...
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