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Beethoven's treatments of the Russian folksongs in the “Razumovsky” String Quartets, Op. 59, nos. 1 and 2, have long elicited sharp criticism. A closer look at these treatments allows for a reappraisal of the quartets and the circumstances of their commission. Beethoven's setting of “Ah, Whether It's My Luck, Such Luck” (Opus 59, no. 1/fourth mvt.) juxtaposes folk and learned styles in ways that complicate the traditional relationship between “nature” and “artifice.” His quasi-fugal treatment of the famous “Slava” tune (Opus 59, no. 2/third mvt.) engages this relationship from the perspective of self-conscious critique. Both settings recall the “synthetic” approach to art championed by Herder; they also evince a cosmopolitan aesthetic with wider cultural and political implications. The settings seem especially designed to appeal to the quartets' dedicatee, Count Andrey Razumovsky, a European Russian whose intense interest in serious music has been understated. These conclusions are brought to bear on Opus 59, no. 3, the only quartet in the opus lacking a labeled thème russe. Rather than returning to the Lvov-Pratsch Collection (1790/1806) for material, Beethoven appears to have incorporated a Russian folksong from a German source in the Andante's main theme. The movement fulfills in an unexpected way his pledge to weave Russian melodies into all three quartets.
Beethoven's treatments of the Russian folksongs in the “Razumovsky” String Quartets, Op. 59, nos. 1 and 2, have long elicited sharp criticism. A closer look at these treatments allows for a reappraisal of the quartets and the circumstances of their commission. Beethoven's setting of “Ah, Whether It's My Luck, Such Luck” (Opus 59, no. 1/fourth mvt.) juxtaposes folk and learned styles in ways that complicate the traditional relationship between “nature” and “artifice.” His quasi-fugal treatment of the famous “Slava” tune (Opus 59, no. 2/third mvt.) engages this relationship from the perspective of self-conscious critique. Both settings recall the “synthetic” approach to art championed by Herder; they also evince a cosmopolitan aesthetic with wider cultural and political implications. The settings seem especially designed to appeal to the quartets' dedicatee, Count Andrey Razumovsky, a European Russian whose intense interest in serious music has been understated. These conclusions are brought to bear on Opus 59, no. 3, the only quartet in the opus lacking a labeled thème russe. Rather than returning to the Lvov-Pratsch Collection (1790/1806) for material, Beethoven appears to have incorporated a Russian folksong from a German source in the Andante's main theme. The movement fulfills in an unexpected way his pledge to weave Russian melodies into all three quartets.
En este artículo el autor expone parte de su estudio de campo y las metodologías de investigación usadas en dicho estudio. Explora la apariencia de dos instrumentos tipo laúd conocidos comúnmente como gambus en el archipiélago malayo. El enfoque principal está centrado en los problemas para documentar el temprano desarrollo histórico de las distintas variantes de gambus. La investigación se vuelve bastante compleja dado que existen pocos estudios escritos sobre estos instrumentos, ya sea en bahasa melayu o en inglés. A partir de esto se examinan las controversias en torno a la transmisión y desarrollo de los instrumentos tipo gambus en el archipié-lago malayo. This paper discusses some fieldwork and research methodologies employed in a study of Malayan music. It explores the appearance of two types of lute instruments commonly known as the gambus in the Malay Archipelago.The main focus will be on the problems of documenting the early historical development of the different variants of gambus. The investigation becomes rather complex as very little research has been done on these instruments, written either in Bahasa Malay or English.This paper will examine the controversies surrounding the transmission and development of the gambus-type instruments into the Malay Archipelago.
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