Bits of Beethoven: Late String Quartets

"Applaud my friends, the comedy is over..." - On his death bed, Ludwig van Beethoven

Photo by Massimo Sartirana on Unsplash

During the years 1825-26, Beethoven was in failing health, but he creatively engaged in composing five of the most complex string quartets, plus the Grosse Fugue, recognized at the time.  

As opined by Maynard Solomon in Beethoven Essays, “This creativity may have served to ward off death, a counterbalance to the forces of disintegration.” These quartets Op. 127, 130,131,132, 133 (Grosse Fugue), and Op. 135 were received with bewilderment by many. A recorded quote by one musician summarized the bewilderment this way, “We know there is something there, but do not know what it is.”

After listening to Op. 131, Schubert exclaimed, “After this, what is left for us to write?” Wagner declared of the first movement of Op 131, “It reveals the most melancholy sentiment expressed in music.” Stravinsky said of the Grosse Fugue, “An absolutely contemporary piece of music that will be contemporary forever.”

As I started writing this closing Beethoven blog, it quickly became apparent to me that any comments I might make about any one of these compositions would be superficial and less than inspiring. These works are mystical, poetic, improvitory, complex, simple, full of intense contrast, sublime—all the above.   

Upon examination of the late string quartets of Beethoven, the element of contrast seems to dominate. Whether it’s contrast in general character, tempos, dynamics, or texture, the contrasts are dramatic. To illustrate contrast in the overall character of the composition, I think we should compare and contrast Op.131 and 135.  

String Quartet No. 14 in C sharp minor Op. 131 (1826) seems the most mystical of the quartets. Within the seven connected sections, there are twenty tempo changes. Its structural form alone classifies it as “music for another era.” Its somber key C sharp minor prevails, but the other keys Beethoven explores are quite adventurous. 

If we were to choose a lighter quartet of the period, it would probably be String Quartet No. 16 in F major Op. 135 (1826), sometimes referred to as the good natured Falstaff quartet. I challenge you to try tapping your foot in the rhythmically, harshly dissonant scherzo.  

To enhance your understanding of these quartets, I encourage you to go on YouTube and listen to the Chamber Music Society of Lincoln Center lectures entitled “The Beethoven Cycle” given by Michael Parloff. Whether you are a musician or a person with deep music appreciation, you will find these lectures give new and exciting insight to some of the greatest music ever written.

Michael Parloff’s Lecture on Beethoven Quartets Op. 131 & Op. 135:

For listening to these quartets, l recommend Alan Berg Quartet:

In response to the pandemic, all of us have been forced to alter our lifestyle. But keeping music in our lives can bring joy and consolation to all of us during times of change and uncertainty. I hope this series of blog posts concerning the music of Beethoven’s genius has provided both for you. It  has provided me the opportunity to re-examine works and renew my appreciation for the genius, Ludwig van Beethoven.

“I wish you music to help with the burdens of life and to help you release your happiness to others." - Quote from a letter, Ludwig van Beethoven

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Be safe and stay well, 
Charlotte McLain