8 We go on a grand tour of keys and the harmonic distance that we travel in this movement is staggering. 4 8 *#29076 - 0.51MB, 35 pp. -  10 16 in F major, Op. 10 0.0/10 -  2 Of that there can be no doubt. 0.0/10 8 The String Quartet No. Discipulus (2020/6/6), Complete Score 6 "Pastorale"Vienna Philharmonic, Beethoven, L. vanPiano Sonata No. 4 *#384435 - 0.05MB, 3 pp. 0.0/10 His use of pizzicato in this movement is wonderful and the ponticello section near the end puts the icing on the cake. 8 The opening fugue has a magnificent, tense subject and as the movement unfolds it brings to mind the Art of Fugue of Bach: pure music, full of all of the contrapuntal elements of good fugue-writing, such as augmentation, diminution, stretto, etc., but moving forward and outward in an other-worldly way. No. 8 8 (-) - V/V/V - 952×⇩ - Pelleas, PDF scanned by piano.ru 4 The second section of the opening reminds us of the theme of the first movement, which is another unifying element in this extraordinary quartet. 2 *#552917 - 16.99MB, 128 pp. The whole movement is a world unto itself ending with a C# octave leapthat leads to movement 2. An external sign of this is the layout in seven movements, played without a break—certainly a major departure from the norms that leaves the listener totally unable to predict the course the work will take at the next turn. 10 8 An account of the relation among Beethoven, his nephew Carl, and the dedicatee Joseph von Stutterheim, International Music Score Library Project, String quartet arrangement of Op. 6 It is a great work. 4 *#243528 - 53.72MB - 39:06 -  4 But form in Beethoven is always inseparable from content, and the revolutionary structure of this quartet was made necessary by the exceptional emotional range of what Beethoven had to say.”. 10 Not surprisingly, Richard Wagner was enamored of this work, as were Schubert, who said “after this, what is left for us to write?” and Robert Schumann, who wrote that this pieces seems to stand “on the extreme boundary of all that has hitherto been attained by human art and imagination'“. (-) - V/V/V - 1274×⇩ - Peter, Complete Score 10 The following adagio variation is charming with its use of pizzicato. It ends somewhat haltingly, leading to a kind of recitative, short movement that bridges the D major celebration with a gorgeous, more contemplative, lengthy set of variations that make up the fourth movement. (-) - V/V/V - 56×⇩ - Schalltrichter, PDF scanned by archive.org 2 But it is accessible and shouldn’t stand apart on Mount Parnassus or wherever and not be approached. 3 in C minorArthur Rubinstein, Beethoven, L. vanPiano Sonata No. 2 10 131 Quartet turns the traditional string quartet form on its head. 2 2 8 0.0/10 *#28162 - 0.68MB, 10 pp. 4 2 6 10 (-) - V/V/V - 18269×⇩ - Ivdruiz, PDF scanned by D-BNba The Beethoven String Quartet Project: Op. 8 -  There’s a glorious return of the opening theme at the end and the movement just fades away. 2 Beethoven’s brilliant use of silence is on display here and the descending scales - which become more and more drawn out (first in 1/4s, then 1/2s then whole notes) are majestic and haunting. -  6 6 The 9/4 section is inspired. 8 0.0/10 *#51356 - 4.18MB, 26 pp. Allegro moderato (Fragmentary), 4. 14, No. 6 6 4 10 jgjgjg (2008/10/19), 3. 0.0/10 6 This is clearly the heart and soul of opus 131, this set of variations. It’s a powerful final movement and the last section brings the piece to a sensational close with one of the greatest “tierce de picardie” moments in music (a tip of the hat to Bach? *#182347 - 0.75MB, 8 pp. (-) - V/V/V - 5978×⇩ - Aldona Jones, PDF scanned by US-R 0.0/10 8 4 (-) - V/V/V - 2836×⇩ - Aldona Jones, Cello -  *#00901 - 1.13MB, 55 pp. The C# rises by a semitone to D and the glorious octave D becomes the motive for the second movement, which comes as a total relief, lightening things up and flying along, featuring episodes that move heavenward. *#13986 - 3.72MB, 42 pp. 8 MUFCHitman (2015/7/2), Complete Score The live performance by the Jasper String Quartet is absolutely brilliant. *#29078 - 0.45MB, 36 pp. 130 in the fall of 1826).

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