| Sumario: | This article focuses on the recent scholarly and performance revival of Franz Weiss (1778–1830), a largely overlooked early nineteenth-century Viennese violist and composer known for his string quartets. Weiss’s Op. 8 quartets, dedicated to Count Andrey Razumovsky and published in 1814, are presented as creative counterparts to Beethoven’s Razumovsky Quartets. A critical edition of these works, edited by Mark Ferraguto, and a world-premiere recording by the Toronto-based period-instrument Eybler Quartet have brought renewed attention to Weiss’s innovative use of dynamics, articulation, and extended string techniques, including the earliest known use of harmonics in string quartets. While the recording demonstrates technical skill and historical insight, some interpretative choices—such as dynamic range, tempo decisions, and the prominent use of portamento slides—invite debate regarding their fidelity to early nineteenth-century performance practice. Overall, the project exemplifies productive collaboration between musicology and historically informed performance, enriching understanding of Viennese quartet culture beyond canonical composers.
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