Contents |
Context -- Arrival and relaunch in Vienna, 1792 -- Beethoven, pianist and string player -- Amateurs, patrons and professionals -- The spirit of the composition -- 1793-5: three piano trios, op. 1 -- 1796: two cello sonatas, op. 5 -- 1797-8: three violin sonatas, op. 12 -- 1794?-1798: five string trios, op. 3, op. 8, op. 9 - 1795?-1799: chamber music for wind, strings and piano -- 1798-1800: six string quartets, op. 18 -- 1800-1801: two violin sonatas, op. 23 and op. 24 -- 1801: string quintet in C major, op. 29 -- 1802: three violin sonatas, op. 30 -- 1802-3: Violin sonata in A major, op. 47 (Kreutzer) -- 1804-6: in the wake of Fidelio -- 1806: three string quartets, op. 59 (Razumovsky) -- 1807-8: cello sonata in A major, op. 69 -- 1808: two piano trios, op. 70 -- 1809: string quartet in E flat major, op. 74 (Harp) -- 1810: string quartet in F minor, op. 95 (Quartetto serioso) -- 1810-11: piano trio in B flat major, op. 97 (Archduke) -- 1812: violin sonata in G major, op. 96 -- 1815: two cello sonatas, op. 102 -- 1815-24: the late string quartets: background and context -- 1824-5: string quartet in E flat major, op. 127 -- 1825: string quartet in A minor, op. 132 -- 1825- 6: string quartet in B flat major, op. 130 -- 1825-6: Grosse fuge, op. 133 -- 1926: string quartet in C sharp minor, op. 131 -- 1826: string quartet in F major, op. 135. |
Abstract |
A noted violinist and conductor, Watson is particularly well suited for his chosen task: outlining the historical context and character of more than 50 of the chamber works that Beethoven composed during his years in Vienna. Avoiding the pitfalls of becoming too critical or "academic," the author characterizes each composition in general terms only, and does not discuss changing styles of performance. Instead, Watson provides information on a work's historical background and character, and on the musical points of interest in each movement. He pays special attention to the influence of Beethoven's large-scale compositions on his chamber music, and on the composer's increasing mastery of improvisation. Filling a hole in scholarship on Beethoven's compositions, this book will be greatly appreciated by professional and amateur musicians. |