Is there a dark secret lurking within this simple story? I have to confess to being a very sceptical Freudian on most occasions, but the interesting thing about this nightmare is indeed what might lie hidden beneath its bizarre narrative. Today, then, it's the turn of Beethoven: a chance to hear one of his greatest works: the third of the so-called 'Razumovsky' quartets, Op. As I've said more than once in this series, the idea of the string quartet, its unprecedented prestige in the Western canon, is inescapably associated with Beethoven, who dedicated himself to the medium with peculiar intensity at three separate periods of his life, and who in the process created a body of work that all subsequent composers felt some more willingly than others they were obliged to emulate.
The Beethoven quartets have long been regarded, by listeners and players alike, as the pinnacle of the repertoire: never to be essayed or talked about without a generous dose of that throaty awe we reserve for the weightiest monuments of our culture.
I know you believe me, but test it out anyway. Type 'Beethoven string quartet sublime' into No. 3 Razumovsky - Juilliard String Quartet - 50 Years (CD) little box on the first page of Google and you'll find countless reiterations of the same basic idea: Beethoven's quartets are transcendent; they hover over us, out there in the ether; they are forever relevant, beyond history.
What's striking is how far back this reverential attitude goes. Of course, there are famous stories of the incomprehension some of Beethoven's early audiences felt; but, remarkably and quite unusually for the period, the lack of understanding was very often assumed to be the fault of the audience rather than the piece in question. A good example is an early review of the Op. This attitude, which was common to most of Beethoven's instrumental works, gradually spread through Europe in the early decades of the nineteenth century, and was fuelled rather than dampened by the composer's death inan event that set in motion a huge wave of monument building and other types of memorialisation.
In short, Beethoven's most famous works were powerfully implicated in enormous changes in the ways music was performed, listened to and written about. Let me list a few of these changes: the decisive emergence of silent, attentive listening; the parallel emergence of instrumental music as more serious than vocal music; an increasing sense that a certain strand of this instrumental music, now commonly called 'classical music', was spiritually uplifting and morally superior; a new hierarchy between the composer and the performer, one that saw the latter as merely a vehicle to express the thoughts of the former; an increased attention to, and reverence for, the score as a repository of the 'work'; and so on and on.
Does all this sound familiar? It should do, because it marks the decisive emergence of 'our' classical musical world, with its concert going, its silent listening, and all the rest; a world that probably saw its peak in the state-sponsored s and s, and that is now, most would admit, in slow decline. Like most iconic cultural figures, Beethoven's life story was powerfully inscribed onto his artistic production, in his case through application of the classic trope of 'three periods' youth, maturity, and old age.
This was something applied to Beethoven very soon after his death, and has retained a robust currency to this day. As I mentioned a moment ago, it happens to suit his quartet production very well, as there are substantial contributions in all three periods.
First, aroundcome his youthful quartets, the set of six which make up Op. These bear very obvious debts to Mozart's quartets, two of which Beethoven copied out in his own hand a common mode of musical learning that we have almost entirely lost these days. Less obvious, but equally telling, is the debt to Haydn, who was still alive and indeed still producing quartets, with whom Beethoven had studied briefly in the early s when he first arrived in Viennaand about whom he evidently felt no small degree of competitive anxiety.
But these Op. The first movement of Op. Beethoven's middle period, sometimes called his 'heroic' period, began with a huge spiritual crisis around he realized, or finally admitted to himself and close friends, that he was going deaf, a disability that was disastrous professionally much of his living was earned as a pianistbut that also - and in the end just as significantly - caused him to withdraw from social life. His emergence from this crisis was, in this sense paradoxically, by means of a compositional turn outwards: to a series of grand 'public' works that would cement his reputation as Europe's most celebrated composer of instrumental music: the Erocia symphony, the 'Waldstein' and 'Appassionata' piano sonatas all String Quartet In C Major from this period; and so too do the three quartets Op.
Two further quartets, the Op. After there came an important hiatus in Beethoven's composing life; a period of several years in which he produced very little, surrounded as he was by new personal crises and also - though we know less about it - by a sense that more modern musical fashions might overtake him. But then the last decade of his life saw the emergence of a radically new musical language, that No.
3 Razumovsky - Juilliard String Quartet - 50 Years (CD) the so-called 'late style', which is characterized by great contrasts and extreme individuality.
Near the end of this period, and thus near the end of Beethoven's life, there again appear a series of string quartets, the five so-called 'late quartets', some of which he seems to have written without obvious stimulus from commissions and which have seemed, to almost everyone since, a deeply individual summing-up of his entire career.
Let's turn back to the Op. They are called the 'Razumovsky' quartets because they were commissioned by a Russian count of that name, who was the Tzar's ambassador in Vienna, a keen amateur violinist and not always the same thing a confirmed music lover. One contemporary described Razumovsky as 'an enemy of the Revolution [presumably the French one] and a friend of the fair sex'; a description that sounds not entirely without malice.
Equally important, though, in the creation of Op. Schuppanzigh is crucial at this stage because, around the time that Beethoven was writing his Op. Such public quartet concerts had, it is true, No. 3 Razumovsky - Juilliard String Quartet - 50 Years (CD), been part of the London scene for some years Haydn's Opp. What is clear is that Beethoven embraced this larger stage, this new quartet audience, with an enthusiasm that couldn't be improved upon.
Although the Op. As it happens, the opening of Op. No 3 offers an excellent example of this strange mixture of the intimate and the grandiose; a mixture that is often woven into the very fabric of the musical argument.
The quartet, which is in C major, opens with three radically contrasting musical ideas. First comes a slow introduction that is forbiddingly interior: it is densely chromatic and mysterious, and obviously modelled on the introduction to Mozart's C major quartet K. It self-consciously explores a large and unpredictable space, both tonally and in terms of the quartet's range, the main connecting link being the cello, which gradually descends through its range as the chords progress.
Second comes a very strange passage in which tonally ambiguous cadences from all four String Quartet In C Major introduce an improvisatory first violin, playing a solo line that seems like a wordless recitative, albeit with an obsessively repeated melodic and rhythmic idea.
And then, third, comes an explosion of the home key, C major, expressed in a frankly orchestral manner; double stops and violin doublings articulating a banal little four-note figure. Let's hear those opening three ideas, in this and in my other except played by the Tokyo String Quartet:. This is, as I said, an unconventional enough beginning.
Even those well-used to sonata forms would have been hard-pressed to identify what exactly was going on. The first section is obviously introductory. But is that rhapsodic violin solo the start of the first movement proper, or merely another introduction?
Certainly in tonal terms the real starting point seems to be that triumphant assertion of C major in the third section; but that in turn lacks the kind of motivic definition one would expect. What's more surprising, though, is that the rest of this long movement does little to clarify these perplexities, let alone suggests any hierarchical order in the themes. What we get instead is a constant alternation of the second and third ideas: a kind of dialogue between the 'private' and the 'public'; between, if you want, different views of what a string quartet might be.
The second movement takes us into equally unconventional territory, but of a very different kind. One of Beethoven's gestures towards his commissioner, Count Rasumovsky, was to feature 'Russian themes' in the final movements of Opp. The 'exotic' flavour of this melancholy Andante is easy enough to hear: in the augmented second intervals of the opening violin melody; in the frequent pizzicato accompaniment of the cello as if in imitation of a 'folk' instrument such as guitar of harp ; and especially in the long passages of static harmony.
Indeed, so successful is Beethoven in conjuring up this sense of geographical distance that the movement sounds to us uncannily like a 'nationalist' inspiration from decades later, by Dvorak or Borodin or Chaikovsky; only the extreme modulations and patient logic of the tonal return betray it back to its time and composer.
The third movement gestures in the opposite direction. Beethoven had during his 'middle' period tended to avoid the Minuet and Trio format, perhaps thinking it too redolent of eighteenth-century civility and preferring the more robust Scherzo; but here he returns to the now somewhat-old-fashioned form, in a movement that might almost be a celebration of Mozartian 'conversation', with a characteristic rhythmic motive in the opening seamlessly exchanged between instruments.
As if to complete the 'antique' mode, the Trio's uncomplicated dance character and rising arpeggios even throw us back to the world of early Haydn and those 'divertimenti' that started the string quartet medium on its way. Only a typically Beethovenian harmonic jolt you can't miss it reminds us of the distance we have travelled.
Tchaikovsky; his life and works, with extracts from his writings, and the diary of his tour abroad in Kila, MT: Kessinger Publishing. Pyotr Ilyich Tchaikovsky. Piano Concerto No. Tchaikovsky film The Music Lovers film. String quartets by Pyotr Ilyich Tchaikovsky.
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Joseph Haydn, String Quartet in C major, Op. 20, No. 2, According to a list Haydn compiled of those works he considered his "true" string quartets, Op. 20 was his third set of six quartets, preceded by Op. 17 and Op. 9. Joseph Haydn, String Quartet in C major, Op. 20, No. 2, According to a list Haydn compiled of those works he considered his "true" string quartets, Op. 20 was his third set of six quartets, preceded by Op. 17 and Op. 9. The earliest reviews of the “Razumovsky” Quartets regarded Op. 59 No. 3 as the least obscure and challenging of the three – and with good reason. It is the one that most obviously recalls the string quartet in its eighteenth-century incarnation, especially the famous examples by Mozart: the outer movements seem to aim for greater formal. 50 ducats each for three string quartets. Beethoven accepted with alacrity, though only in was the first of the three, the String Quartet in E-flat Major, Opus , balnalatelesupprosivadisbere.coinfo two but four more followed, including an extra movement, which was substituted for the original fugal finale (Grosse Fuge). May 06, · BEETHOVEN QUARTET NO 9 IN C MAJOR OP 5 NO 3 Professor Roger Parker I'll start today with an apology and a confession. The apology (which can be brief) is that, in the initial publicity for this series, the quartet today was announced as Beethoven's Op. 95; but some time ago, and for eminently practical reasons, the Badke quartet and I decided to change to the same composer's Op. 59, no. 3. String Quartet No. 9 in C major, Op. 59, No. 3 They are the first three of what are usually known as the "Middle Period" string quartets, or simply the "Middle Quartets." The other two are opus 74 and opus String Quartet in C major, Op 59 No 3. composer. Ludwig van Beethoven () ; dedicated to Count Razumovsky. New Budapest Quartet. Download all MP3 £ Download all FLAC £ Download all ALAC £ View whole album. Beethoven: String Quartets. New Budapest Quartet. Start studying String Quartet in C Major, op. 76, no. 3 ("Emperor Quartet"): Second Movement. Learn vocabulary, terms, and more with flashcards, games, and other study tools. Their performances of the Mozart "Haydn Quartets", the Op trio of Franz Joseph Haydn's string quartets, Beethoven's three "Razumovsky" Quartets as well as his "Harp" String Quartet, Op, Schubert's String Quartet No in G major D. (in a recording dating from ), as well as his String Quartet No in A minor, D. ('Rosamunde /5(14). This page lists all recordings of String Quartet No. 9 in C major, Op. 59 No. 3 'Rasumovsky No. 3' by Ludwig van Beethoven (). Showing 1 - 10 of 66 results Sort by:4/5.
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