Prism III shows how the radiance of Bach's fugues is refracted through Beethoven's quartets to illuminate the work of later composers. "Beethoven had taken a fundamentally linear development from Bach," the Danes note, "and exploded everything into myriads of different colours, directions and opportunities - much in the same way as a prism splits a beam of light." They follow the beam from Bach's Fugue in c-sharp minor through Beethoven's String Quartet No.14 to Bartøk's String Quartet No.1.
Prism III shows how the radiance of Bach's fugues is refracted through Beethoven's quartets to illuminate the work of later composers. "Beethoven had taken a fundamentally linear development from Bach," the Danes note, "and exploded everything into myriads of different colours, directions and opportunities - much in the same way as a prism splits a beam of light." They follow the beam from Bach's Fugue in c-sharp minor through Beethoven's String Quartet No.14 to Bartøk's String Quartet No.1.
Prism III shows how the radiance of Bach's fugues is refracted through Beethoven's quartets to illuminate the work of later composers. "Beethoven had taken a fundamentally linear development from Bach," the Danes note, "and exploded everything into myriads of different colours, directions and opportunities - much in the same way as a prism splits a beam of light." They follow the beam from Bach's Fugue in c-sharp minor through Beethoven's String Quartet No.14 to Bartøk's String Quartet No.1.
