and especially as documents of his early, more experimental style. The music research has shown that the three quartets 415th structurally modeled on the three violin sonatas KV 296, 379 and 380 followed by Mozart and the three piano concertos K. 413, 414, It is, therefore, early works, which are highly interesting as evidence of a learning process. The most obvious weakness of this music is the lack of a "broken" work a sound economic and transparent distribution of tasks for the individual instruments - one gets the impression that they were all always simultaneously in use. The Quartet in E flat major (No. 1) is an important and fioriturenreiche ahead slow introduction, which is almost developed into an independent set and attacca following in the moving passionate Allegro con spirito (unusual in E flat minor) passes. The finale is a set of variations a full vocal theme. That Beethoven took over from these quartets some suggestions for his own compositions for future years, can include the Adagio of the Quartet in C major (No. 3) show the theme in the slow movement of Piano Sonata No. 1 in F minor, Op 2.1 again resonates. The Quartet in D major (No. 2) has a slow middle movement in the on unusual key of F sharp minor, otherwise follow the usual three-movement pattern. 
Ludwig van Beethoven: Quartet for piano, violin, viola, cello (in E flat major, D major, C major), WoO 36 Source: Beethovenhaus (TROIS / QUATUOR / originaux / . pour / piano / violon, alto et violoncello / composer / PAR / L. VAN BEETHOVEN / Oeuvre posthumous - [Voice, First Edition] - Vienne,.. chez Artaria and Co., [1828] ") . string quartet for the Piano Sonata, Op 14.1
Outside the ranks of the great 16 (or 17 if the
Grosse Fuge separately) is one
string quartets are Beethoven's own arrangement of the Piano Sonata No. 9 in E major, Op 14.1 for this occupation. The Sonata was built in 1799, the String Quartet in F major, followed in 1802, very careful work that goes far beyond the routine correction set for quartet. Beethoven was expressed in a letter to his publisher Breitkopf & Hartel 1802 decidedly on this issue: "I have one sonata of mine turned into a quartet for violin, instruments, ... and I am sure, I do not easily to another. "And he points out in this context points out: "There is not left out entire passages entirely alone and must be changed, we must - even the interference of" complete rewrite that is typical of small instrumental phrases and phrases, and re-insert. If you look at the trouble of a detailed comparison of original and undergoing treatment, you will discover a wealth of seemingly unimportant details that differ, to gradations of dynamics. This individual and sophisticated processing technology makes this version to a second original, which no one else could create when the composer himself. In this way, just another string quartet by Beethoven was handed down. From the musical public, it is undeservedly little attention.
Source: Arnold Werner-Jensen: Ludwig van Beethoven. Music guide. Reclam Leipzig tape library 20 021, Leipzig, 1 Edition 2001, ISBN 3-379-20021-2
, page 190 and 273-274
TRACKLIST
Ludwig van Beethoven Piano Quartets 1770-1827
No.1-3 String Quartet in F major
Quartet for Piano, Violin, Viola and Cello No. 1 in E flat major, WoO 36
01 1 Adagio assai - 6:55 attacca 02 2 Allegro con spirito 5:23 03 3
Tema: Cantabile - 10:31
Variazioni I-VI - Theme: Allegretto
Quartett für Klavier, Violine, Viola und Violoncello No. 2 D-dur WoO 36
04 1. Allegro moderato 7:53
05 2. Andante con moto
6:42 06 3. Rondo: Allegro 5:29
Quartett für Klavier, Violine, Viola und Violoncello
No. 3 C-dur WoO 36
07 1. Allegro vivace 6:02
08 2. Adagio with expression
6:48 09 3. Rondo: Allegro 3:36
Streichquartett F-dur nach der
Klaviersonate E-dur Op.14 No.1
10 1. Allegro moderato 7:07 11 2 Allegretto 3:35 12 3
Allegro 3:30
Total time: 73:34
Christoph Eschenbach, piano [01] - [09]
Amadeus Quartet
Norbert Brainin, violin I
Siegmund Nissel, violin II [10 ] - [12] Peter Schidlof, Viola Martin Lovett, cello
® [01] - [09] 1970 / [10] - [12] 1969
ADD
Jean-Baptiste Camille Corot: View the Farnese Gardens, Rome, 1826, The Phillips Collection, Washington, DC
Jean-Baptiste Camille Corot (1796-1875) On 16 July 1796 was born to the couple Corot, a popular milliner and draper, a son whom they named Jean Baptiste Camille
. He was sixteen years after Ingres
to the world, but two years before Delacroix . The landscapes, which were precursors to the Impressionists were all younger than him. Corot, the Baudelaire wrote in 1845: "He is at the forefront of modern landscape art," was actually the oldest of the French landscape painter of the 19th Century. Corot visited the school in Rouen (1807-1812) and in Poissy (1813-1814). Then in 1815, when Napoleon had his defeat at Waterloo, loses Jean Baptiste Camille, who dreamed of becoming a painter, to his father: he was a cloth merchant in teaching. Already in 1817 he had a little revenge: he sat up in the country house that his parents had purchased in Ville d'Avray , a studio. Four years later, then a decisive victory: his father sat him out of an annual sum of 1,500 livres, the money was the death of one of the sisters Corot become vacant. Corot was independent now thanks to this pension, and began with twenty-nine years of his career as a landscape painter and traveler. He went to Italy where he stayed three times: 1825-1828, 1834 and 1843. Between 1852 and 1863 he traveled frequently to Switzerland (his mother was of Swiss descent). He visited Belgium and Holland in 1854. In the winter he worked in his Paris studio and was inspired by the images he had painted during the warm season in the various provinces of France from nature: in Normandy, Auvergne, Limousin, Brittany, in the Morvan
, in the
Bourgogne , in northern France, in Jura, Savoy, the Dauphine, the Sologne, the Saintonge diving, etc. Some towns and cities in his biographies again and again as leitmotifs: Arras, Fontainebleau, Mantes , Douai, Rouen, Beauvais, Rosny, Marcoussis and of course Ville-d'Avray, where he and his sister inherited the property of the parents.
Jean-Baptiste Camille Corot: Lady in Blue, 1874, Musee du Louvre, Paris
Mention should also stay in Auvers-sur-Oise (1858 and 1868), where - thirty-two years after the last visit by Jean Baptiste Camille - which killed unrecognized by the art lovers van Gogh-seven years. Corot had the same age when he had also received the
Salon of 1833 a medal, then put on his career hardly Most of the paintings, which he had returned to the salon, had been rejected, and the critical reactions sullen, and the public did not know him. Only seven years later (1840), he sold his first major picture to a private collector. Although he received in 1846, after his government some works had bought (1840, 1842 and 1845), the cross of Legion of Honor (fifty years), and in 1847 wrote Delacroix, who had visited him in his diary is "Corot a true artist. " But was this really famous" real artist "only when he approached the sixties. In the 1855 Universal Exhibition him bought Napoleon III.
the memory of Marcoussis off, and Pissarro, representatives of the younger generation sought advice from him then, in 1862, was Berthe Morisot his pupil. With sixty-six years he met Courbet . "I am the greatest modern painter," said the master of Ornans . . Then, after a short silence, he added, "Together with you of course," remarked Corot, Courbet when he told utterance: "If I had not been there, he had forgotten me," But they forgot 1874 Corot not - he was eight.. We thought to give it the honor medal of the salon, but at the last moment they came on it. His pictures were purchased, however, so that more and more false Corot came to the market. Later it was said then: "Corot painted 3,000 pictures, of which 10 000 are in America," Jean Baptiste Camille itself authenticated a number of forgeries, signed by them - out of compassion for the counterfeiters, whose plight he knew.. Another example of his proverbial goodness: Daumier who could not pay his rent should be evicted from the house where he lived; Corot bought the house and gave it to him: "Well, you dont need to fear that one driven up, "he wrote to him.
Jean-Baptiste Camille Corot: Memory of Morte Fontaine, 1864, Musee du Louvre, Paris
On 22 February 1875 he died at seventy-nine years, and at the funeral followed him a huge crowd. A few days before his death he had been dreaming of pink landscapes and skies, of which Van Gogh later said. "So we paint it today," In many Corot died yet unknown, because a significant portion of his work was unveiled to the public until late: his figure paintings in 1909 came to light (in the parlor, where she admired the Cubists). They proved that this landscape also understood homage to the glossy image of man, even if he did it only for themselves. Source:
Yvon Taillandier : Corot. (Translation: Henry Pecher). Gondrom Verlag GmbH & Co. KG, Bayreuth 1994, ISBN 3-8112-1147-1 , page 93
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