BEGIN:VCALENDAR VERSION:2.0 PRODID:-//PYVOBJECT//NONSGML Version 1//EN BEGIN:VTIMEZONE TZID:Europe/Rome BEGIN:STANDARD DTSTART:20001029T030000 RRULE:FREQ=YEARLY;BYDAY=-1SU;BYMONTH=10 TZNAME:CET TZOFFSETFROM:+0200 TZOFFSETTO:+0100 END:STANDARD BEGIN:DAYLIGHT DTSTART:20000326T020000 RRULE:FREQ=YEARLY;BYDAY=-1SU;BYMONTH=3 TZNAME:CEST TZOFFSETFROM:+0100 TZOFFSETTO:+0200 END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:20260627T192526Z - 52250@eupp361 DTSTART;TZID=Europe/Rome:20260509T193000 DTEND;TZID=Europe/Rome:20260509T210000 CREATED:20260627T192526Z DESCRIPTION:Beethoven’s Third Period - Quartetto Noûs\n“Beethoven’s Third Period” is the result of a residency by Quart etto Noûs\, as part of Orsolina28’s program “Cherry Notes Series”. The evening is devoted to Beethoven’ final six string quartets (Opp. 127 \, 130\, 131\, 132\, 133\, 135)\, a series of works composed between 1824 and 1926 that mark a profound turning point in music history. Conceived al most as a unified cycle\, they share rhythmic figures\, thematic elements and a highly innovative architecture that transcends classical sonata form . Belonging to Beethoven’s so-called late style\, these works reflect a period of radical experimentation\, in which he redefined his musical lang uage and opened new expressive horizons. Their audacity and complexity wer e initially misunderstood: for instance\, the Große Fuge Op. 133\, origin ally intended as the finale of Op. 130\, was rarely performed in the 19th century and was only later recognized as a masterpiece. Similarly\, the St ring Quartet No. 12 in E-flat major\, Op. 127\, commissioned by Prince Nik olai Galitzin\, balances tradition and innovation. Its central Adagio\, a theme and variations\, unfolds with remarkable expressive depth\, moving b etween introspection\, drama\, and lightness. With the String Quartet No. 16 in F major\, Op. 135\, Beethoven’s final quartet\, the musical langua ge becomes more concise and transparent. The famous final movement\, marke d by the question “Muss es sein?” (“Must it be?”) and the answer “Es muss sein!” (“It must be!”)\, carries a philosophical resonanc e\, often interpreted as a reflection on fate and acceptance. In line with our values of inclusion and accessibility\, all of our presentations are open to the community at no cost (reservations are required and all donati ons are welcomed). ArtistsViolin: Lorenzo Gentili-TedeschiViolin: Alberto FranchinViola: Sara DambruosoCello: Ainhoa Maria Castelló Amorós DTSTAMP:20260627T192526Z LOCATION:ORSOLINA28 ART FOUNDATION - ENTE DEL TERZO SETTORE\, STRADA CAMINA TA 28\, MONCALVO AT 14036\, Italy SUMMARY:Beethoven’s Third Period - Quartetto Noûs X-ALT-DESC;FMTTYPE=text/html:Beethoven’s Third Period - Quartetto Noûs\n“Beethoven’s Third Period” is the result of a r esidency by Quartetto Noûs\, as part of Orsolina28’s program “Cherry Notes Series”. The evening is devoted to Beethoven’ final six string q uartets (Opp. 127\, 130\, 131\, 132\, 133\, 135)\, a series of works compo sed between 1824 and 1926 that mark a profound turning point in music hist ory. Conceived almost as a unified cycle\, they share rhythmic figures\, t hematic elements and a highly innovative architecture that transcends clas sical sonata form. Belonging to Beethoven’s so-called late style\, these works reflect a period of radical experimentation\, in which he redefined his musical language and opened new expressive horizons. Their audacity a nd complexity were initially misunderstood: for instance\, the Große Fuge Op. 133\, originally intended as the finale of Op. 130\, was rarely perfo rmed in the 19th century and was only later recognized as a masterpiece. S imilarly\, the String Quartet No. 12 in E-flat major\, Op. 127\, commissio ned by Prince Nikolai Galitzin\, balances tradition and innovation. Its ce ntral Adagio\, a theme and variations\, unfolds with remarkable expressive depth\, moving between introspection\, drama\, and lightness. With the St ring Quartet No. 16 in F major\, Op. 135\, Beethoven’s final quartet\, t he musical language becomes more concise and transparent. The famous final movement\, marked by the question “Muss es sein?” (“Must it be?”) and the answer “Es muss sein!” (“It must be!”)\, carries a philos ophical resonance\, often interpreted as a reflection on fate and acceptan ce. In line with our values of inclusion and accessibility\, all of our pr esentations are open to the community at no cost (reservations are require d and all donations are welcomed). ArtistsViolin: Lorenzo Gentili-Tedeschi Violin: Alberto FranchinViola: Sara DambruosoCello: Ainhoa Maria Castelló Amorós END:VEVENT END:VCALENDAR