Invisible audibility in the obviousness of Count Razumovsky in L. v. Beethoven´s String Quartet Cycle Op. 59

• Autor(a) principal: Gimaletdinov, Nikolai
• Data de Publicação: 2022
• Tipo de documento: Dissertação
• Idioma: eng
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10400.22/21337
• topic: Razumovsky; Beethoven; String Quartet; Op. 59; Folk; Solmization; Cossacks; Napoleon

The thesis´ investigation will approach to unveil Count Andrei Kirillovich Razumovsky as very typical aristocrat of his time, even though one of the most powerful, following a certain agenda, becoming essential in the upcoming Russian national consciousness (which was mainly copied from the German Idealism, based on the philosophies of Kant, Herder and Fichte). Count Razumovsky, having started his Anti-Napoleonic mission estimated in 1803, commissioned therefor the most famous architect of his time, Louis Montoyer, to build a palace in Vienna´s nearby, furthermore the most famous composer of his time, Ludwig van Beethoven, for to compose a cycle of three string quartets, the thesis´ main objects: op. 59. The comparison of both masterworks, the palace and the string-quartet-compositions, unveil a thrilling accordance following the count´s ideals and picture on the highest level of art and culture imaginable during that specific time under observance. Following a certain path of analysis and hermeneutics, it becomes an exposure of the count himself expressed by Ludwig van Beethoven´s music, inspiring, impressive, but also sinister. All visible and audible in Beethoven´s op. 59, the thesis presents the deep unbreakable connection between politics and art at the turn of 18th to 19th century, namely in Beethoven´s Vienna during the Napoleonic era, furthermore, presenting an analysis-tool based on tonalities and finds of interpretational paths. The usage of the first edition of the quartets besides other highly valuable material out of the private archive of Gregor Razumovsky, Grand-grand-nephew of Count Andrei Kirillovich Razumovsky, son of the legendary Zaporizhian Cossacks´ Hetman Count Kirill Grigoryevich Razumovsky, gives certainty of the commissioned compositions of Ludwig van Beethoven about the involvement of songs from the Cossacks, entitled “Thème russe”. Not only to enlighten the background of their embedding in the compositions, also to come close to their deeper meaning might give a glimpse of the nowadays tragically warfare in old Count Razumovsky´s former empire, as the Napoleonic warfare obviously hasn´t been the last one.