![]() Given this precedent, modern-day scholars put forward the view that the composition of string quartets entailed considerable hard work and anxiety for Beethoven, such that he avoided the genre for a considerable time (28 years). And they contributed significantly to the prestige of the genre. The canonised works of Haydn and Mozart certainly played a role in setting the bar high in terms of technical and expressive demands. However, the early and middle-period quartets are part of a larger trend towards theatricality and piquant play with technique that is found in the works of Viennese quartet composers around 1800. The modern-day viewpoint means that we tend not to see points of continuity between the early and middle quartets and that the larger musical context for Beethoven’s middle-period works is largely disregarded. 18 is, furthermore, clearly seen as a stepping stone, a rite of passage through which Beethoven must pass to arrive at maturity in the middle and (above all) late quartets. 18, and the works’ traditional “classical” stance. Today the opus is considered comparatively easy and “light.” Recent commentators emphasise the influences of Haydn and, especially, Mozart found in Op. This opinion was to change quickly, especially as his yet more demanding quartets appeared. At first, the works were considered challenging both for players and listeners. 18 voiced virtually the opposite viewpoint to most modern commentators. This 1801 reviewer of the three first published quartets from Beethoven’s Op. Yet they must be often and well played, as they are Three quartets provide full evidence of their art Works by Beethoven (published by Mollo) are striking. ![]() ![]() ![]() Among the new works that appear here, admirable ![]()
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