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Multi-instrumental movements: In the 18th century, Joseph Haydn had established the string quartet as one of the most important musical genres, and his successors had to measure up to his standards – including Beethoven, who initially thoroughly studied the existing literature. However, he then consistently expanded the music for four instruments with his own accents. In particular, with a groundbreaking quartet such as the F major piece, he took his previously announced "different path" in 1806. He now ventured into previously unheard-of sonic territories, which is why his overall three-part Opus 59 was characterized by a frustrated critic as "a madman's patchwork" at the time – to which Beethoven retorted that it was not for him, but "for a later time." Dvořák based his work on these demanding pieces: Apart from the intimate Adagio, his last contribution of 1895 is largely a lively and folk-influenced composition. Eduard Hanslick expressed his enthusiasm in a letter to him: "It seems to me that you have now crowned the honest and brilliant efforts of Beethoven." In between, we hear a confident work by Louise Héritte-Viardot, who lived from 1841 to 1918 – and who had Clara Schumann as a prominent supporter. Her expressive piano quartet musically captures a summer day with a lot of movement, which she has indicated in the programmatic titles: It starts with a morning excursion in the countryside, butterflies flutter around, and the conclusion is a rustic peasant dance.
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