I read Beethoven altered the opening motives 120 times before he was satisfied. If your skeptical, so am I, I might of read wrong. I imagined it included the first 4 measures. It is subtle and bold, true to Beethoven's style. Two sixteenth notes and two eighth notes are framed by a dotted quarter note and a quarter note. The only difference between the two statements is one ends on c, the other on d. These subtleties of asymmetry/symmetry are exploited beautifully throughout the movement. Point is Beethoven has a Hellenistic hardness of precision and bareness that is more stark than even Haydn, though this does not imply superiority. I love Haydn's music. Indeed both composers are masters of the Hellenistic hardness I referred to and, though this is unimportant, it is not more easily won than Bach's counterpoint, the rich harmonies of late Romanticism or the orchestration of Strauss. It's just a different kind of mastery. People who love Japanology would understand this
I’m interested in you calling Beethoven and Haydn Hellenistic. I would have placed them more into a classical category and the generations after them into a more Hellenistic category? Let me know if there is anything you think I should read. I’ve always been interested in the archaic/classical/Hellenistic cycle of analysing traditions so found your comment interesting.
Man, you don't know how much I love you for your understanding that between masters there is no superiority. Because I seldom see opinion like yours and I really dislike point of view when one style or composer is "objectively" superior and others is meh and beh. You either become master or not, you either work on your inner-self or not. In this rank there is no superiority. It's people with potential which is 10% of their mastery and 90% of work to bloom that potential.
@@BearDimka I didn't expect anyone to heed my comments really. I've familiarized the arts of many nations, and there are wide differences in aesthetic pleasure. Man is not a herd of cow, least of all with aesthetic response. Art is too personal to be standardized.
The striking late string quartets offer great challenges to both players and audience, and include the remarkable Grosse Fugue (Great Fugue), a gigantic work. It was originally intended as the final movement of a string quartet, but it was published separately.
@@timothyruszala6395 Yes, it was a (rather useless) convention of 19th century engraving. So useless that it's called "trouble clef" by the cellists :D
Pero cuánto comentario impertinente se lee. Siempre se ha dicho que en el mundo de la música, el ambiente de envidia que hay es superior a todas las artes.
00:00 Allegro con brio
09:04 Adagio affettuoso ed appassionato
18:12 Scherzo.Allegro con brio
21:43 Allegro
merci!
That development section is stunning!!!
I just realized how much I like the key of F Major.
Same
Same here.
I read Beethoven altered the opening motives 120 times before he was satisfied. If your skeptical, so am I, I might of read wrong. I imagined it included the first 4 measures. It is subtle and bold, true to Beethoven's style. Two sixteenth notes and two eighth notes are framed by a dotted quarter note and a quarter note. The only difference between the two statements is one ends on c, the other on d. These subtleties of asymmetry/symmetry are exploited beautifully throughout the movement. Point is Beethoven has a Hellenistic hardness of precision and bareness that is more stark than even Haydn, though this does not imply superiority. I love Haydn's music. Indeed both composers are masters of the Hellenistic hardness I referred to and, though this is unimportant, it is not more easily won than Bach's counterpoint, the rich harmonies of late Romanticism or the orchestration of Strauss. It's just a different kind of mastery. People who love Japanology would understand this
@@afriendlymusician3829 Brahms did that to the max
I’m interested in you calling Beethoven and Haydn Hellenistic. I would have placed them more into a classical category and the generations after them into a more Hellenistic category? Let me know if there is anything you think I should read. I’ve always been interested in the archaic/classical/Hellenistic cycle of analysing traditions so found your comment interesting.
Man, you don't know how much I love you for your understanding that between masters there is no superiority. Because I seldom see opinion like yours and I really dislike point of view when one style or composer is "objectively" superior and others is meh and beh. You either become master or not, you either work on your inner-self or not. In this rank there is no superiority. It's people with potential which is 10% of their mastery and 90% of work to bloom that potential.
@@BearDimka I didn't expect anyone to heed my comments really. I've familiarized the arts of many nations, and there are wide differences in aesthetic pleasure. Man is not a herd of cow, least of all with aesthetic response. Art is too personal to be standardized.
@@noahmosley Your right, I was careless.
Qué maravilla es el Adagio.
Thank you for this upload, I am very grateful
No. 1? Not bad for a first try at this. This Beethoven guy shows some real potential, IMHO. :)
The first quartet is the no3 actually, Beethoven just changed the order
Les YTP de la médiocrité that is true
Una calma y dulce felicidad es lo que ha quedado, gracias por complacernos con lo maravilloso
The striking late string quartets offer great challenges to both players and audience, and include the remarkable Grosse Fugue (Great Fugue), a gigantic work. It was originally intended as the final movement of a string quartet, but it was published separately.
Awesome music
17:00 amazing!!!
09:04
I only think about "The Lobster" and Rule of Rose :'')
Gracias gracias gracias a ustedes puedo alimentar a mi espíritu
Aplausos
Great
Schnittke brought me here.
Excelente la calidad de los intérpretes, puede agregar a Andrés Segovia, Julián bream,, narciso Yepes,. Muchas gracias y felicitaciones.
The party is Catch That Kid
What’s interesting here is that the cellist took the parts that were written in treble clef down an octave.
@@timothyruszala6395 Yes, it was a (rather useless) convention of 19th century engraving.
So useless that it's called "trouble clef" by the cellists :D
Geez- I thought that this confusion with treble clef on cello was unique to Dvorak.
Bethoven is the best composer ever...
Beethoven..not Bethoven!
Yes...but just a bit after Wolfgang Amadeus Mozart. ☺
Sorry not as good as Bach 😁
I'm kidding. All 3 were Great.
@@jonblablabla1014 ..of course.
But first place goes to Wolfgang!
@@vittoriomarano8230 No... it goes to me!
@@jonblablabla1014 Bach was not a composer. He was a god.
I wonder if Fauré knew of, or was subtly influenced by, the Adagio movement of Beethoven's Op. 18/1 when he wrote 'Après un rêve' ...
I found the two pieces were similar too, especially the beginning...
11:39
Впервые слушаю...наслаждаюсь....
The score has some incorrect notes
thank u the lobster
The Lobster, Anyone?
So selfish the first violinist named the entire quartet after himself.
LOL!
Seems like a call-back to Haydn's Op.50, No.1: ua-cam.com/video/7osJCddGJSc/v-deo.html
Pero cuánto comentario impertinente se lee. Siempre se ha dicho que en el mundo de la música, el ambiente de envidia que hay es superior a todas las artes.
you cat
?
meow