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String Quartet No. 15 in A minor, Op. 132, by Ludwig van Beethoven, was written in 1825. The five movements of the quartet are: I. Assai sostenuto – Allegro (A minor) II. Allegro ma non tanto (A major) III. Molto adagio – Andante (F Lydian) IV. Alla marcia, assai vivace (attacca) (A major) V. Allegro appassionato (A minor – A major) Ludwig van Beethoven (1770 – 1827) was a seminal German composer. He had a significant influence on the transition from the Classical to the Romantic era of music, and to this day he is considered to be one the most celebrated and important composers of all time. This volume is highly recommended for fans of Beethoven's music, and it constitutes a must-have for collectors of important classical scores. Classic Music Collection constitutes an extensive library of the most well-known and universally enjoyed works of classical music ever composed, reproduced from authoritative editions for the enjoyment of musicians and music students the world over. This edition also includes an introductory biography of Beethoven written by Joseph Otten.
Beethoven's 15th Quartet in A minor, Op. 132, was actually the thirteenth quartet in order of composition, but was published later in the cycle. This quartet represents the last of the three great, personal quartets. The third of the five movements in this quartet is titled "Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart" (Holy Song of Thanksgiving by a Convalescent to the Divinity, in the Lydian Mode), as it was written by Beethoven after recovery from a serious illness, which Beethoven feared would be fatal.
Beethoven followed in the footsteps of Haydn, father of the string quartet, and created what is now regarded as one of the finest collections of masterworks in the string quartet genre. From the early quartets, reminiscent of some of Mozart's quartets, to the soaring and emotional late quartets, these works have become favorites of both performers and audiences around the world. This collections includes the full scores for all 16 string quartets as well as the Grosse Fuge. Early String Quartets: String Quartet No. 1 in F Major (Op. 18, No. 1) String Quartet No. 2 in G Major (Op. 18, No. 2) String Quartet No. 3 in D Major (Op. 18, No. 3) String Quartet No. 4 in C minor (Op. 18, No 4) String Quartet No. 5 in A Major (Op. 18, No. 5) String Quartet No. 6 in Bb Major (Op. 18, No. 6) Middle String Quartets: String Quartet No. 7 in F Major (Op. 59, No. 1) String Quartet No. 8 in E minor (Op. 59, No. 2) String Quartet No. 9 in C Major (Op. 59, No. 3) String Quartet No. 10 in Eb Major "Harp" (Op. 74) String Quartet No. 11 in F minor "Serioso" (Op. 95) Late String Quartets: String Quartet No. 12 in Eb Major (Op. 129) String Quartet No. 13 in Bb Major (Op. 130) String Quartet No. 14 in C# minor (Op. 131) String Quartet No. 15 in A minor (Op. 132) String Quartet No. 16 in F Major (Op. 135) Grosse Fuge (Op. 133)
Great music has the power to transform. Understanding and appreciating classical music can enlighten, uplift, and educate not only the intellect but the soul. In The Secret Magic of Music, classical music devotee and psychiatrist Ida Lichter uncovers a more accessible side of music. By providing the performers’ insights, Lichter provides a special look into how great music can bring happiness and spiritual meaning to its listeners.
Leading authorities explore, in direct and accessible language, chamber-music masterpieces by twenty-one prominent composers since 1900.
"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.