Emanuel Aloys Förster (1748–1823) was among the most significant composers of Viennese chamber music at the turn of the nineteenth century. The three sets of six string quartets that he published are exemplary works in the genre at that time, fine examples of the intellectually and emotionally engaging nature of classical string quartets. Yet these works are not part of the standard chamber music repertoire, nor are they much discussed by musicologists, except in terms of the supposed “influence” between Förster and Beethoven. This discussion typically relates to Förster’s first set of string quartets, op. 7 (1794), but without detailed consideration of the music or discussion of the other quartets that he composed. Thus our assessment of this important composer in general, and his contributions to Viennese string quartet culture around 1800 in particular, is hampered by a narrowness of vision. This new edition of Förster’s op. 7 not only helps with comparison to Beethoven, but shows his own command of the four string instruments’ expressive resources. A notable feature of the opus is the use of the solo cello in its high register. These works were dedicated to Friedrich Wilhelm II (1744–97), king of Prussia from 1786, who was himself a cellist. Performance parts are available as separate purchases.

Emanuel Aloys Förster (1748–1823) was among the most significant composers of Viennese chamber music at the turn of the nineteenth century. The three sets of six string quartets that he published are exemplary works in the genre at that time, fine examples of the intellectually and emotionally engaging nature of classical string quartets. Yet these works are not part of the standard chamber music repertoire, nor are they much discussed by musicologists, except in terms of the supposed “influence” between Förster and Beethoven. Thus our assessment of this important composer in general, and his contributions to Viennese string quartet culture around 1800 in particular, is hampered by a narrowness of vision. As shown in this new edition of Förster’s op. 21 (1803), Förster remained close to the overall design for string quartets that Haydn and Mozart had set, with some experiments in form and movement order in quartet no. 3. In other respects they present increasingly experimental writing. The harmonic innovations in quartet no. 4, for example, are especially striking; they require an excellent performing ensemble to render them effective. Förster also explored the special effects that are achievable by a string quartet, as in the Adagio con sordino from quartet no. 4. Hymnlike adagios that unfold in elaborate, ornamental lines also become increasingly prominent in op. 21, his final published set of string quartets.

Emanuel Aloys Förster (1748–1823) was among the most significant composers of Viennese chamber music at the turn of the nineteenth century. The three sets of six string quartets that he published are exemplary works in the genre at that time, fine examples of the intellectually and emotionally engaging nature of classical string quartets. Yet these works are not part of the standard chamber music repertoire, nor are they much discussed by musicologists, except in terms of the supposed “influence” between Förster and Beethoven. Thus our assessment of this important composer in general, and his contributions to Viennese string quartet culture around 1800 in particular, is hampered by a narrowness of vision. This new edition of Förster’s op. 16 (1798) shows that, like Haydn, Mozart, and Beethoven, he found the string quartet to be an ideal medium for trying out new compositional experiments, novelties that would appeal especially to the connoisseur. These innovations include rich and varied use of imitation in sonata form movements, songful unfolding in the slow movements, and humorous use of register and articulation in minuet and trio movements.

This edition represents a step towards a full understanding of the development of the string quartet in Italy. Campagnoli’s style has its genesis in the Paduan violin school begun by Giuseppe Tartini. Many of Tartini’s pupils, such as Pietro Nardini, Maddalena Lombardini, and Campagnoli himself, cultivated an interest in string quartets. After Tartini’s death in 1770, Campagnoli continued his studies with Nardini in Florence. From 1797 to 1818 Campagnoli was principal violin at the Gewandhaus orchestra in Leipzig, becoming one of the most important violinists in Germany at the end of the eighteenth century, a living link between Italian cantabile and German counterpoint. This manuscript was part of the Königliche Hausbibliothek in Potsdam, along with many compositions by Mozart, Boccherini, and Haydn. Consisting of four manuscript parts, it was considered lost until 1997, after the reunification of the music collections from East and West Germany at the Staatsbibliothek zu Berlin.