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Ludwig Van Beethoven Ludwig Van Beethoven Ludwig Van VIRTUAL FESTIVAL CONCERT #3 - Released July 17, 2020 LUDWIG VAN BEETHOVEN String Quartet in G Major, Op. 18 No. 2 Allegro Adagio cantabile—Allegro—Tempo I Scherzo: Allegro Allegro molto, quasi presto LUDWIG VAN BEETHOVEN String Quartet in C Major, Op. 59 No. 3 Introduzione. Andante con moto - Allegro vivace Andante con moto quasi allegro Menuetto grazioso Finale: Allegro molto LUDWIG VAN BEETHOVEN String Quartet in A minor, Op. 132 Assai sostenuto—Allegro Allegro ma non tanto Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart: Molto adagio—Neue Kraft Fühlend: Andante—Molto adagio—Andante—Molto adagio: Mit innigster Empfindung (“Holy song of Thanksgiving from a convalescent to the Deity in the lydian mode”) Alla marcia, assai vivace—Più allegro—Presto Allegro appassionato—Presto Ehnes Quartet: James Ehnes violin / Amy Schwartz Moretti violin / Richard O’Neill viola / Edward Arron cello Concert was originally scheduled for July 10, 2020 and brief restatement of the first theme where LUDWIG VAN BEETHOVEN fragments rapidly switch among the instruments (1770–1827) before returning to the movement’s opening “aria.” String Quartet in G major, Op. 18 No. 2 (1798-1800) A felicitous Scherzo: Allegro follows, serving up SCMS premiere a theme that soars and descends in a seemingly effortless manner. The mid-movement Trio begins Beginning with his set of six quartets, Op. 18 dating with an initially emphatic mindset that can’t help but from the late 1790s through his late quartets from return to the positive spirit of the “A” section of the the 1820s, Beethoven set a well-nigh impossible Scherzo. standard for all subsequent composers of string quartets. In no way does that assertion minimize The cello assumes the lead in the closing Allegro such major 20th-century contributions as Bartók’s molto, quasi presto that seems as if Beethoven is and Shostakovich’s in the same format. Beethoven toying with listener’s sensibilities, challenging them honed his skills with the Op. 18 set, which reflects his to figure where the music is going harmonically. absorption of Haydn and Mozart in their exemplary Melodically, the thematic material is fashioned chamber music. Additionally, he had already from rising scales briefly interrupted by snatches of composed a significant number of other chamber- lyrical asides before ending the quartet in joyous works, including the three Op. 1 piano trios and enthusiasm. several string trios, a format more challenging than music for string quartet. Why? Because classical music is based on four-part writing for both LUDWIG VAN BEETHOVEN instrumental and choral music. No wonder, then, that String Quartet in C Major, Op. 59 No. 3 the Op. 18 quartets are such dazzling entities. (1806) Most recent SCMS performance: Summer 2010 The Op. 18, No. 2 quartet opens with a light-hearted and entirely positive Allegro that resides comfortably In 1805, Count Andreas Razumovsky, the Russian within the classical era. It has at times borne the ambassador to the Imperial Court in Vienna, nickname “Compliments” due to its courtly politesse. commissioned a set of string quartets from Already, however, Beethoven frequently adds Beethoven. The Count wanted the new works brief pauses between phrases and an increasingly to be performed as part of the inauguration of a adventuresome alternation of energetic fragments palace being built for him at the time. He asked the and reposeful counter statements. His humor (shades composer to incorporate actual Russian tunes in all of Haydn) comes in the guise of a not-quite serious three quartets, but Beethoven accommodated the fugue (whose techniques derived from his early request only in the finale of the first piece and in the teacher Christian Gottlob Neefe, an ardent advocate Scherzo of the second quartet (whose theme appears of Bach’s music). To stress the humor, Beethoven nearly half-a-century later in the “Coronation Scene” ends the fugue on an unexpected climax followed in Mussorgsky’s opera, Boris Godunov). Beethoven by an abrupt pause that closes the movement with a completed the set by 1806, a year before they were pacifying return to the genial opening theme. premiered; even then, the palace was unfinished. Marked Adagio cantabile—Allegro—Tempo I, the The triptych, published as the “Razumovsky” second movement is a serene and unforced songlike Quartets, Op. 59, Nos. 1–3, are products of respite from the helter-skelter humor of the opening Beethoven’s “middle period,” by which time he had movement. This lovely tune evokes the world of fully assimilated the models of Haydn and Mozart opera, unfolding as a tender aria. Another example of and was well into the full expression of his own the young Beethoven’s humor erupts in an energetic forceful personality. The Op. 59 Quartets brim with SUMMER festival // confidence in both his technique and his sense of of the “Razumovsky” group, the cello’s numerous having “something to say” to the world. Admittedly, pizzicatos add a measure of mystery to this sad they are less overtly dramatic than other works Andante con moto quasi allegro in A minor (same key from the same period, e.g., the “Eroica” and Fifth signature as C Major, i.e., no sharps or flats). symphonies and the “Kreutzer” and “Appassionata” sonatas, yet they were sufficiently innovative to A simple, charming, and aptly described Menuetto garner intensely harsh criticism—in great contrast grazioso leavens the texture and mood, serving as a to the enthusiastic response accorded the Op. 18 pleasant musical oasis between the lugubrious tone set of 1800. Much had changed in those six years, of the second movement and the undimmed vigor most notably his continuously diminishing hearing of the Finale. Yet even in this otherwise unassuming and attendant fear and anger, all of which propelled Menuetto Beethoven appends a tonally ambiguous Beethoven into new and often audacious modes of coda, which inspires perhaps a bit more head- musical and emotional exploration. When violinist scratching before hurtling us into the contrapuntal Felix Radicati from the Schuppanzigh Quartet—the and bustling concluding movement. famed ensemble that gave the premieres in 1807— said to Beethoven, “Surely you do not consider this Marked Allegro molto, a skittering fugato starts music,” the composer replied, “Not for you but for things off with a distinct jolt of electric energy that a later age.” Even more telling was Beethoven’s scarcely pauses to allow for a deep breath. Emphatic comment at the time, “…the tones whirl like the wind, and triumphant in its C-Major glory (same key and and often there is a like whirl in my soul.” forcefulness as the finale to the Fifth Symphony), this closing movement serves as a long-delayed If these middle quartets generally puzzled poor resolution of the tonally insecure Introduzione of the Radicati, the third of the set—String Quartet in C opening movement. Major, Op. 59, No. 3—was accorded a warmer initial reception because of its perceived “accessibility.” Nonetheless, the first movement’s Introduzione: LUDWIG VAN BEETHOVEN Andante con moto inspired head-scratching among String Quartet in A minor, Op. 132 (1825) early listeners—players, too, no doubt. The opening Most recent SCMS performance: Summer 2016 “diminished” chord (three minor thirds piled on top of one another) is a tense fragment that can move into By the time Beethoven composed his Quartet No. any number of tonal areas. After Beethoven guides 15, Op. 132 he had already closed the book on his us through a sequence of more harmonies with an symphonies, concertos, piano- and other sonatas, uncertain direction (to us, not to him!) and disturbing his sole opera Fidelio, and the Missa solemnis. His dissonances, he relents and opens the door to a final years focused primarily on the five late string two-note phrase that soon propels the energetic quartets, in many ways his most experimental and and far less anxiety-producing Allegro vivace. That far-reaching compositions. Igor Stravinsky, in fact, very two-note fragment recurs frequently and lends characterized the Grosse fuge (the original closing a purposive air that reassures us after the nebulous movement of the Op. 130 quartet) as the first piece opening measures of the movement. Still, Beethoven of modern music. has another trick up his sleeve: in the recapitulation he alters the opening violin solo to the point of near Along with the Opp. 127 and 130 quartets, the unrecognizability. A-minor piece exists because of a commission from Prince Nikolai Galitzin, who wrote to the composer in In Op. 59, No. 3 Beethoven chose not to literally fulfill 1822, “Being as passionate an amateur as an admirer Razumovsky’s request to incorporate a traditional of your talent, I am taking the liberty of writing to you Russian tune. He did, however, provide thematic to ask you if you would be willing to compose one, material that “sounds” Russian in its flirting with two, or three new quartets. I shall be delighted to Eastern European modes and scales. As in the first JULY 10, 2020 // ProGram notes pay you for the trouble whatever amount you would tempo fluctuations, divergent moods, and dramatic deem adequate.” Beethoven accepted the offer for a key shifts. Like the Grosse fuge this hymn-like edifice stipend of 12 ducats. is almost a stand-alone structure; indeed, many of this writer’s acquaintances report listening to it A somber and anxious rising theme from the cello shorn of its surrounding movements. The length, opens the Assai sostenuto introduction to the first complexity, and ultimate optimism of the music movement. This paragraph eventually morphs into bespeaks the composer’s gratitude to his Maker for an energetic Allegro that in no way diminishes the restoring Beethoven’s health after serious threats to anxious mien and unsettling phrases that refuse his wellbeing.
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