دانلود رمان انگلیسی “بتهوون” – کوارتت های زهی

When, in 1977, the two Voyager spacecraft were launched on their respective interstellar journeys, they each included on board a golden record intended to communicate, to any extraterrestrial life that Rnds it, the diversity and culture of Earth. Along with pictures of bridges and sand dunes, dolphins and DNA, human bodies and celestial bodies, recordings of greetings in world languages and the sounds of frogs and crickets, the musical choices the toe-tapping rocket scientists included have become famous: among many others, Bach’s Brandenburg Concerto No.2, Chuck Berry’s ‘Johnny B. Goode’, Stravinsky’s Rite of Spring and the Javanese gamelan song ‘Puspawarna’. But the last track the aliens will hear on their cosmic record players is the Cavatina from Beethoven’s op.130 string quartet. Beethoven, on learning his music had been selected for such an enterprise, would doubtless have been proud of his achievement (while also hustling for royalties). A composer of astonishing variety, writing in virtually every available genre, he knew the power and potential of his music: symphonies that radically altered and developed their medium; piano sonatas that exploited his own titanic gifts as a player while simultaneously foreseeing whole generations of new keyboard composition. But the music Beethoven was proudest of, and to which he returned across his career – though most especially at its very end – was his string quartets.