Beethoven For A Later Age

'They are not for you but for a later age!' Ludwig van Beethoven, on the Opus 59 quartets. Tackling the Beethoven quartets is a rite of passage that has shaped the Takács Quartet's work together for over forty years. Using the history of the composition and first performances of the quartets as the backbone to his story, Edward Dusinberre, first violinist of the Takács since 1993 - recounts the life of the Quartet from its inception in Hungary, through emigration to the US and its present-day life as one of the world's renowned string quartets. He also describes what it was like for him, as a young man fresh out of the Juilliard School, to join the Quartet as its first non-Hungarian member - an exhilarating challenge. Beethoven for a Later Age takes the reader inside the life of a quartet, vividly showing how four people enjoy making music together over a long period of time. The key, the author argues, is in balancing continuity with change and experimentation - a theme that also lies at the heart of Beethoven's remarkable compositions.

Using the history of both the Takács Quartet and the Beethoven quartets as a foundation, Dusinberre provides a backstage look at the daily life of a quartet, showing the necessary creative tension between individual and group and how four people can at the same time forge a lasting artistic connection and enjoy making music together over decades.

This "multitude of productive images," writes Solomon, "provides kindling for the blaze of his imagination.""--BOOK JACKET.

"Edward Dusinberre, first violinist of the renowned Takács Quartet, offers a rare peek inside the workings of his ensemble, while providing an insightful history of the compositions and their performance. Founded in Hungary in 1975 and now based in Boulder, Colorado, the Takács is one of the world's preeminent string quartets, and performances of Beethoven have been at the center of their work together for over forty years. Using the history of both the Takács Quartet and the Beethoven quartets as a foundation, Beethoven for a Later Age provides a backstage look at the daily life of a quartet, showing the necessary creative tension between individual and group and how four people can at the same time forge a lasting artistic connection and enjoy making music together over decades. The key, Dusinberre reveals, to a quartet crafting its own sound is in balancing continuity with change and experimentation--a theme that lies at the heart of Beethoven's remarkable compositions. In an accessible style, suitable for novices and chamber music enthusiasts alike, Dusinberre illuminates the variety and contradictions of Beethoven's quartets, which were composed against the turbulent backdrop of the Napoleonic Wars and their aftermath, and he brings the technical aspects of the music to life."--Publisher's Web site.

"We do not understand music--it understands us." This aphorism by Theodor W. Adorno expresses the quandary and the fascination many listeners have felt in approaching Beethoven's late quartets. No group of compositions occupies a more central position in chamber music, yet the meaning of these works continues to stimulate debate. William Kinderman's The String Quartets of Beethoven stands as the most detailed and comprehensive exploration of the subject. It collects new work by leading international scholars who draw on a variety of historical sources and analytical approaches to offer fresh insights into the aesthetics of the quartets, probing expressive and structural features that have hitherto received little attention. This volume also includes an appendix with updated information on the chronology and sources of the quartets and a detailed bibliography.

The definitive book on the life and music of Ludwig van Beethoven, written by the acclaimed biographer of Brahms and Ives.

Classical Kids presents Beethoven Lives Upstairs, a touching tale of music, friendship and genius. The arrival of an eccentric boarder turns Christoph's life upside down. Ludwig van Beethoven has moved in upstairs! The young boy slowly comes to understand the genius of the man, the torment of his deafness and the beauty of his music.

Before the nineteenth century, instrumental music was considered inferior to vocal music. Kant described wordless music as "more pleasure than culture," and Rousseau dismissed it for its inability to convey concepts. But by the early 1800s, a dramatic shift was under way. Purely instrumental music was now being hailed as a means to knowledge and embraced precisely because of its independence from the limits of language. What had once been perceived as entertainment was heard increasingly as a vehicle of thought. Listening had become a way of knowing. Music as Thought traces the roots of this fundamental shift in attitudes toward listening in the late eighteenth and early nineteenth centuries. Focusing on responses to the symphony in the age of Beethoven, Mark Evan Bonds draws on contemporary accounts and a range of sources--philosophical, literary, political, and musical--to reveal how this music was experienced by those who heard it first. Music as Thought is a fascinating reinterpretation of the causes and effects of a revolution in listening.

During Beethoven's darkest times, when he stumbled about the streets of Vienna like a ragged madman, people thought his career was over. Many of his friends and patrons had died. He no longer seemed to be producing music except for a few trivial pieces. But appearances were wrong. He was creating what is generally regarded as his greatest single work. Known as the Ninth Symphony, it is much more difficult and massive than any of the preceding eight. But Beethoven was aware that the people of Vienna thought he was crazy. He was afraid his symphony would be rejected. Making things even worse, there had only been time for two rehearsals. By this time he was totally deaf and could not hear how well the musicians performed. On May 7, 1824, Beethoven conducted the Ninth Symphony for its premiere performance in Vienna. When the last notes of the magnificent final movement came to an end, Beethoven stood on the stage with his back to the audience. One of the singers gently turned him around so that he could see the audience. The applause was thunderous. Everyone was standing and cheering. Nearly 180 years later, Beethoven's works are still enjoyed by music lovers all over the world. On January 12, 2003, the Ninth Symphony was added to the "Memory of the World" register so that the compositions of Vienna's "mad genius" will live on forever.