Beethoven's String Quartet No. 4 (Opus 18, No. 4), is part of the set of 6 quartets that Beethoven wrote between 1798 and 1800. This is the Performer's Edition of the quartet, with clean print and easy to read markings designed for the performer. This version is a pocket score, sized at approximately half a standard sheet of paper for easy transport and use for performing musicians and students.

This Companion, first published in 2000, provides a comprehensive view of Beethoven and his work. The first part of the book presents the composer as a private individual, as a professional, and at the work-place, discussing biographical problems, Beethoven's professional activities when not composing and his methods as a composer. In the heart of the book, individual chapters are devoted to all the major genres cultivated by Beethoven and to the elements of style and structure that cross all genres. The book concludes by looking at the ways that Beethoven and his music have been interpreted by performers, writers on music, and in the arts, literature, and philosophy. The essays in this volume, written by leading Beethoven specialists, maintain traditional emphases in Beethoven studies while incorporating other developments in musicology and theory.

“[Beethoven’s] music never grows old— and, enjoyed alongside Mr. Lockwood’s expert commentary, it sparkles with fresh magic.”—Wall Street Journal More than any other composer, Beethoven left to posterity a vast body of material that documents the early stages of almost everything he wrote. From this trove of sketchbooks, Lewis Lockwood draws us into the composer’s mind, unveiling a creative process of astonishing scope and originality. For musicians and nonmusicians alike, Beethoven’s symphonies stand at the summit of artistic achievement, loved today as they were two hundred years ago for their emotional cogency, variety, and unprecedented individuality. Beethoven labored to complete nine of them over his lifetime—a quarter of Mozart’s output and a tenth of Haydn’s—yet no musical works are more iconic, more indelibly stamped on the memory of anyone who has heard them. They are the products of an imagination that drove the composer to build out of the highest musical traditions of the past something startlingly new. Lockwood brings to bear a long career of studying the surviving sources that yield insight into Beethoven’s creative work, including concept sketches for symphonies that were never finished. From these, Lockwood offers fascinating revelations into the historical and biographical circumstances in which the symphonies were composed. In this compelling story of Beethoven’s singular ambition, Lockwood introduces readers to the symphonies as individual artworks, broadly tracing their genesis against the backdrop of political upheavals, concert life, and their relationship to his major works in other genres. From the first symphonies, written during his emerging deafness, to the monumental Ninth, Lockwood brings to life Beethoven’s lifelong passion to compose works of unsurpassed beauty.

GOOD MORNING AMERICA BOOK CLUB PICK! • Ray McMillian is a Black classical musician on the rise—undeterred by the pressure and prejudice of the classical music world—when a shocking theft sends him on a desperate quest to recover his great-great-grandfather’s heirloom violin on the eve of the most prestigious musical competition in the world. “I loved The Violin Conspiracy for exactly the same reasons I loved The Queen’s Gambit: a surprising, beautifully rendered underdog hero I cared about deeply and a fascinating, cutthroat world I knew nothing about—in this case, classical music.” —Chris Bohjalian, #1 New York Times bestselling author of The Flight Attendant and Hour of the Witch Growing up Black in rural North Carolina, Ray McMillian’s life is already mapped out. But Ray has a gift and a dream—he’s determined to become a world-class professional violinist, and nothing will stand in his way. Not his mother, who wants him to stop making such a racket; not the fact that he can’t afford a violin suitable to his talents; not even the racism inherent in the world of classical music. When he discovers that his beat-up, family fiddle is actually a priceless Stradivarius, all his dreams suddenly seem within reach, and together, Ray and his violin take the world by storm. But on the eve of the renowned and cutthroat Tchaikovsky Competition—the Olympics of classical music—the violin is stolen, a ransom note for five million dollars left in its place. Without it, Ray feels like he's lost a piece of himself. As the competition approaches, Ray must not only reclaim his precious violin, but prove to himself—and the world—that no matter the outcome, there has always been a truly great musician within him.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

A detailed study of the life of one of the most important and influential musical figures of the nineteenth century.

(Fake Book). This fabulous fake book includes nearly every famous classical theme ever written! It's a virtual encyclopedia of classical music, in one complete volume. Features: over 165 classical composers; over 500 classical themes in their original keys; lyrics in their original language; a timeline of major classical composers; categorical listings; more.