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:20260513T153319Z - 84102@eupp361 DTSTART;TZID=Europe/Rome:20260509T193000 DTEND;TZID=Europe/Rome:20260509T210000 CREATED:20260513T153319Z DESCRIPTION:Beethoven’s Third Period - Quartetto Noûs\n“Beethoven’s Third Period” is the result of a residency by Quarte tto Noûs\, as part of Orsolina28’s program “Cherry Notes Series”. T he evening is devoted to Beethoven’ final six string quartets (Opp. 127\ , 130\, 131\, 132\, 133\, 135)\, a series of works composed between 1824 a nd 1926 that mark a profound turning point in music history. Conceived alm ost as a unified cycle\, they share rhythmic figures\, thematic elements a nd a highly innovative architecture that transcends classical sonata form. Belonging to Beethoven’s so-called late style\, these works reflect a p eriod of radical experimentation\, in which he redefined his musical langu age and opened new expressive horizons. Their audacity and complexity were initially misunderstood: for instance\, the Große Fuge Op. 133\, origina lly intended as the finale of Op. 130\, was rarely performed in the 19th c entury and was only later recognized as a masterpiece. Similarly\, the Str ing Quartet No. 12 in E-flat major\, Op. 127\, commissioned by Prince Niko lai Galitzin\, balances tradition and innovation. Its central Adagio\, a t heme and variations\, unfolds with remarkable expressive depth\, moving be tween introspection\, drama\, and lightness. With the String Quartet No. 1 6 in F major\, Op. 135\, Beethoven’s final quartet\, the musical languag e 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 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:20260513T153319Z 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 - Q uartetto Noûs\n“Beethoven’s Third Period” is the result of a re sidency by Quartetto Noûs\, as part of Orsolina28’s program “Cherry N otes Series”. The evening is devoted to Beethoven’ final six string qu artets (Opp. 127\, 130\, 131\, 132\, 133\, 135)\, a series of works compos ed between 1824 and 1926 that mark a profound turning point in music histo ry. Conceived almost as a unified cycle\, they share rhythmic figures\, th ematic elements and a highly innovative architecture that transcends class ical 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 an d complexity were initially misunderstood: for instance\, the Große Fuge Op. 133\, originally intended as the finale of Op. 130\, was rarely perfor med in the 19th century and was only later recognized as a masterpiece. Si milarly\, the String Quartet No. 12 in E-flat major\, Op. 127\, commission ed by Prince Nikolai Galitzin\, balances tradition and innovation. Its cen tral Adagio\, a theme and variations\, unfolds with remarkable expressive depth\, moving between introspection\, drama\, and lightness. With the Str ing Quartet No. 16 in F major\, Op. 135\, Beethoven’s final quartet\, th e 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 philoso phical resonance\, often interpreted as a reflection on fate and acceptanc e. In line with our values of inclusion and accessibility\, all of our pre sentations are open to the community at no cost (reservations are required and all donations are welcomed). ArtistsViolin: Lorenzo Gentili-TedeschiV iolin: Alberto FranchinViola: Sara DambruosoCello: Ainhoa Maria Castelló Amorós END:VEVENT END:VCALENDAR