Beethoven's String Quartet in C-sharp Minor, Op. 131最新文献

Popular and Early Reception 受欢迎及早接待

Beethoven's String Quartet in C-sharp Minor, Op. 131 Pub Date : 2021-07-15 DOI: 10.1093/OSO/9780190059200.003.0003

N. November

引用次数: 0

Re-hearing Op. 131 重审作品131

Beethoven's String Quartet in C-sharp Minor, Op. 131 Pub Date : 2021-07-15 DOI: 10.1093/OSO/9780190059200.003.0002

N. November

引用次数: 0

“A new kind of part writing” “一种新的部分写作”

Beethoven's String Quartet in C-sharp Minor, Op. 131 Pub Date : 2021-07-15 DOI: 10.1093/oso/9780190059200.003.0004

N. November

{"title":"“A new kind of part writing”","authors":"N. November","doi":"10.1093/oso/9780190059200.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780190059200.003.0004","url":null,"abstract":"Chapters 3 and 4 focus on Beethoven’s two statements that the work shows “a new kind of part writing” and “not less fantasy” than his previous works. The chapters explore, respectively, what each of these statements might have meant in terms of Beethoven’s compositional perspective, and in terms of performance and reception in his day. His comment on a “new kind of part-writing” is especially noteworthy, given that Op. 131 was his penultimate quartet. In light of the considerable experimentation in the middle-period quartets, one might have thought that by the 1820s Beethoven would have exhausted most possibilities for innovating in string quartet part-writing. To further explore what Beethoven meant, I go back to sketches and notes relating to the middle-period quartets, in particular his new idea of composing and hearing all four parts at once, which he noted down in a sketchbook around the time he was composing Op. 74. How does this new idea about the compositional process relate to the late quartets and Op. 131 in particular? I consider evidence from the sketches for Op. 131 as well as the early reception of the finished product. Adolph Bernhard Marx, for example, draws attention to the late quartets’ “Bachian counterpoint.” I focus in particular on the variations of the fourth movement. My analyses draw attention to the unique nature of all four voices, and the sense in which each part is crafted with careful attention to the art and science of listening.","PeriodicalId":128495,"journal":{"name":"Beethoven's String Quartet in C-sharp Minor, Op. 131","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126439110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Epilogue 后记

Beethoven's String Quartet in C-sharp Minor, Op. 131 Pub Date : 2021-07-15 DOI: 10.1093/oso/9780190059200.003.0007

N. November

引用次数: 0

“Like an overly large fantasy” “就像一个过于宏大的幻想”

Beethoven's String Quartet in C-sharp Minor, Op. 131 Pub Date : 2021-07-15 DOI: 10.1093/OSO/9780190059200.003.0005

N. November

{"title":"“Like an overly large fantasy”","authors":"N. November","doi":"10.1093/OSO/9780190059200.003.0005","DOIUrl":"https://doi.org/10.1093/OSO/9780190059200.003.0005","url":null,"abstract":"Audiences at Iganz Schuppanzigh’s 1820s quartet concerts in Vienna would have expected a string quartet to be a weighty, four-movement work with an emphasis on a sonata form, thematische Arbeit (motivic working) between parts, and an overall tonal plan based on one or two primary key areas. Beethoven no doubt had such connoisseur listeners in mind with this work, but was pushing far beyond that traditional idea of the string quartet. Op. 131 is full of all sorts of different kinds of writing. The chapter explores the quartet in terms of fantasia, a word found frequently in connection with Op. 131, starting with a discussion of the free fantasia as a work exhibiting apparently chaotic musings over a highly logical ground plan. As Carl Philipp Emmanuel Bach pointed out in his influential discussion of the subject, there is method in the seeming madness of the free fantasia, especially as regards harmonic links. The chapter considers the entire work as a fantasia, exploring the clever linkage of seemingly disparate ideas within and between movements. The fantasia form might seem the opposite of the formalized string quartet genre as it was starting to be understood by Beethoven’s time, but in one important respect it was not. The free fantasia was a work for the connoisseur: as Carl Friedrich Michaelis noted in his article on music and humor of 1807, the free fantasia, in particular, reveals to the connoisseur listener the soul (or inventive repository) of the composer.","PeriodicalId":128495,"journal":{"name":"Beethoven's String Quartet in C-sharp Minor, Op. 131","volume":"161 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122649021","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Op. 131 and the Rise of Attentive Listening Op. 131和专心倾听的兴起

Beethoven's String Quartet in C-sharp Minor, Op. 131 Pub Date : 2021-07-15 DOI: 10.1093/oso/9780190059200.003.0006

N. November

{"title":"Op. 131 and the Rise of Attentive Listening","authors":"N. November","doi":"10.1093/oso/9780190059200.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780190059200.003.0006","url":null,"abstract":"This chapter begins with a discussion of Mark Andre’s ensemble work riss 2 (2014) as an alternative window on the modern-day reception of Op. 131—the two works can similarly disrupt our ontological understanding of musical works in terms of structure, sound transformations, and especially sense of time. I then step back to consider the larger context in which Op. 131 was originally heard, setting it within an emerging ideology of “serious listening” in Vienna in the early nineteenth century. I consider the early nineteenth century as an era in which the seeds for silent listening were sown, by key agents of change, who tried to adjust audience behavior at string quartet concerts—influential figures such as Schuppanzigh, Beethoven, and reviewers for the Wiener Theater-Zeitung and Viennese Allgemeine musikalische Zeitung in the 1810s and ’20s. Beethoven’s C-sharp minor quartet can be understood as a work that took part in this move to instill silent and serious listening. However, the climate in Vienna was not was not such that Beethoven (and Schuppanzigh) could enjoy much success with this particular listening project. The “romantic listener” does not represent a nineteenth-century norm, and was certainly not the norm in Beethoven’s Vienna. But the compelling ideology of listening and associated habits that started to develop there—especially reverent silence—continue to influence powerfully our concert hall behaviors today.","PeriodicalId":128495,"journal":{"name":"Beethoven's String Quartet in C-sharp Minor, Op. 131","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133346924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0