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kidnaptrive Report EssayThesis statement This report will simply discuss how Ludwig van van Beethoven interconnected disused and impudently musical ideas into his work, thus creating an unconventional but transcendent and influential quartet, ground on the bowed stringed instrument Quartet No.9 in C, Op. 59, No.3 Razumovsky performed on the concert.On 22nd Nov, Shanghai Quartet, one of the spheres foremost chamber ensembles, performed two musical plant. They are Ludwig van Beethovens String Quartet No.9 in C, Op. 59, No.3 Razumovsky and Antonin Dvoraks Piano Quintet No. 2 in A, B. 155, Op.82. In this report, I will focus on discussing Beethovens work.1Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the unming conduct and Romantic period in westbound art music, he remains one of the most famous and influential icon for all composers. His best-known compositions include 9symphonies, 5 concertos for piano, 32 piano sonat as, and 16 string quartets. 2The String Quartet No.9 in C, Op. 59, No.3 Razumovsky was write in around 1805-1806, when Beethoven was aged 35 and was at the height of his productivity. It is called the Razumovsky quartets because it is commissioned by a Russian count of that name, who was the Tzars ambassador in Vienna, a keen amateur violinist and a corroborate music lover. The quartet consists of the following four movements1. Andante con moto Allegro vivace (C major)2. Andante con moto quasi allegretto (A minor)3. Menuetto (Grazioso) (C major)4. Allegro molto (C major)I will focus on discussing how Beethoven integrated old and new ideas into the mho, third and final movements The second movement brings us to an unconventional territory. Beethoven assay something radical and that is an entire Russian movement. The exotic flavor of this movement is easy enough to hear in the augmented second intervals of the opening violin melody, the frequent pizzicato accompaniment of the cel lo in which as if it imitates a folk instrument such as guitar of harp and especially in the long passages of electrostatic harmony. Indeed, Beethoven is prosperous in conjuring up thissense of geographical distance that the movement sounds really similar to the nationalist inspiration from decades later, by Romantic period composers like Dvorak or Borodin or Chaikovsky. only the extreme modulations and patient logic of the tonal return betray it back to its time and composer.While the second movement gives an unconventional feeling and goes for something new during that time, the third movement gestures in the opposite direction. During Beethovens middle period, he tended to avoid the Minuet and Trio format and try to use the robust Scherzo in his works but here he returns to the somewhat-old-fashioned form, in a movement with a flakeistic rhythmic causation in the opening seamlessly exchanged between instruments. As if to complete the old-fashioned mode, the Trios uncomplica ted dance character and rising ending melodies even bring us back to the world of early Haydn, who is a Classical Period composer. Everything in this quartet has been a surprise so far, and the last movement is no exception. It is led by a gentle coda to the third movement that ends on a question mark. yet then, of all things, we are presented with the start of a traditional fugue, led off by the viola at a furious tempo. Again we have a sense of traveling between the new and the old. Fugues were by now an ancient, learned device but Beethoven integrates this one into the most extrovert and public of moods as a display of evident virtuosity for the four soloists. What is more, as soon as the four entries have been completed, at that place are not any formal counterpoints and Beethoven explores instead the grandiose, symphonic modes, especially that flamboyant jubilation of an enormous C-major space on all four instruments.All in all, Beethoven is so successful in integrating old musical ideas, coming from the Romantic or even the Classical period, and his new thoughts into this quartet. While I listened to it, it acts like a time machine, bringing us to travel between old and new. No wonder it is regarded as one the most transcendent quartet composed by Beethoven.