DOI: 10.36871/hon.202202010
Authors
T. B. Sukhanova
Victor Popov Academy of Choral Art, Moscow, Russian Federation
Abstract
The article discusses the history of Beethoven's violin and chamber instrumental works — his
Concerto, violin sonatas, bowed quartets and pieces — on the Russian concert scene of the
XIXth century. The purpose of this paper is to trace the most important stages in strengthening
the position of the composer's violin and chamber-instrument works in Russia and to outline
the main factors influencing this process.
The paper provides a chronology of Beethoven's compositions appearing on the Russian
stage, and also analyzes reasons for the popularity of certain works, such as the "Russian
Quartets" op. 59, as well as the ambivalent attitude towards other works — the late quartets
and the Violin Concerto.
Another aspect of the article focuses on the contribution of Russian (A. Amatov, N. Golitsyn,
A. Bogdanov, V. Bezekirsky) and foreign performers who worked and toured in Russia
(L.-W. Maurer, A. Viethan, F. Laub, H. Wieniawski, and L. Auer) to the popularization of
Beethoven's violin heritage.
Particular emphasis is placed on the virtuoso-romantic context of performing art, in which
the Beethoven tradition in Russia was born.
Keywords
L. van Beethoven, Beethoven's violin and chamber instrumental heritage, "Russian Quartets" op. 59, violin concerto, violin sonatas, late quartets of L. van Beethoven, Russian concert stage of the XIXth century, popularization of musical heritage
