Abstract
The article discusses the history of Beethoven's violin and chamber instrumental works — his Concerto, violin sonatas, bowed quartets and pieces — on the Russian concert scene of the XIXth century. The purpose of this paper is to trace the most important stages in strengthening the position of the composer's violin and chamber-instrument works in Russia and to outline the main factors influencing this process. The paper provides a chronology of Beethoven's compositions appearing on the Russian stage, and also analyzes reasons for the popularity of certain works, such as the "Russian Quartets" op. 59, as well as the ambivalent attitude towards other works — the late quartets and the Violin Concerto. Another aspect of the article focuses on the contribution of Russian (A. Amatov, N. Golitsyn, A. Bogdanov, V. Bezekirsky) and foreign performers who worked and toured in Russia (L.-W. Maurer, A. Viethan, F. Laub, H. Wieniawski, and L. Auer) to the popularization of Beethoven's violin heritage. Particular emphasis is placed on the virtuoso-romantic context of performing art, in which the Beethoven tradition in Russia was born.
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