Beethoven: The Early Quartets
Part One of Three.
The classical music world is celebrating the 250th anniversary of Ludwig van Beethoven’s birth this year. I have wanted to post about Beethoven’s extraordinary string quartets for some time. Since I am not trained in music it is often difficult to articulate what draws me to classical compositions. But, nevertheless, here goes in my amateurish attempt.
Beethoven’s composed sixteen quartets for strings. They are traditionally divided into Early, Middle, and Late periods. His first six quartets all fall under opus 18 in his oeuvre. He composed these in his late 20’s in Vienna, a society ripe to appreciate them.
The Viennese enjoyed chamber music “parties” during this time. Professional and amateur musicians often joined together in salons, anywhere outside of the performance halls, to perform and celebrate all forms of chamber music, particularly trios and quartets. The first six Beethoven quartets were an instant hit in 1801 when they were published (composed 1798-1801). They were seen as fresh and lively, definitely in the spirit of Haydn and Mozart but with a twist.
For the most part, but for some signature sophistication and a bit of early romantic uniqueness, these six sound to me as if I am listening to those other great German masters. More specifically, Franz Joseph Haydn’s Opus 33 quartets had inspired Wolfgang Amadeus Mozart to write six quartets of his own and dedicate them to Haydn. In turn, Haydn’s Opus 33 and Mozart’s celebration of them are the foundation of Beethoven’s Opus 18 works.
Though the quartets are numbered 1 though 6, they were not composed in the order. The best scholarship contends that No. 3 was written first and No. 1 written second. The reason Beethoven switched them around is that they reflect a subtle evolution of his composition style. No. 3 is one of the more “traditional” of the set, just to prove to everyone that he could compose within the well-established classical guidelines of the day.
No. 1 is more of a “statement” featuring a bit more experimentation than perhaps Haydn would have found acceptable. (Haydn was already critical of Beethoven's Opus 1 No. 3 piano trio.) Beethoven wanted to open with a bang. Michael Steinberg writes: “What is unlike Haydn, who liked to put a minimum amount of material through more paces than one would believe possible, is the irrepressible bubbling of Beethoven’s invention, giving us new idea after new idea.”
No. 2 and No. 3 seek to emulate the compositional prowess of Haydn, with No. 2 presenting some “witty” phrases that echo Haydn’s famous sense of compositional humor. (Haydn frequently used various tricks to interject humor. One of the more obvious ones is the sudden, loud eruption of the orchestra in the slow movement of his “Surprise” symphony. This was intended to startle the audience just as it was relaxing, perhaps sleepily, into what was supposed to be a peaceful adagio.)
No. 4 is critiqued by Robert Greenberg as “uneven.” Be that as it may, it is another composition in this series that explores the traditional form of the string quartet. Another offering that says: “I can make the best music you are familiar with in addition to music you have never heard before.”
With No. 5 Beethoven emulates Mozart’s K.464 quartet. Like the No. 3, he doesn’t just try to copy or imitate, rather he takes it as a foundation by which to express music in his own way. This features both tributes and experiments where Beethoven establishes his credentials and exceeds the expectations of the audience.
As far as a complete work, my personal favorite is No. 5. Though Greenberg calls it a “patchwork” and the “weakest” of the six, it is the one I am instinctively drawn toward. Maybe my lack of musical training works in my favor here. I don’t “understand” that the composition as technically weak but, rather, as a piece filled with catchy little upbeat phrases that are so indicative of Mozart.
After No. 1, it is No. 6 that is considered the most ambitious of these lively and pleasurable compositions. Beethoven creates a “radical compositional act” by fusing what is technically a fifth movement into the traditional fourth movement finale. It isn’t something we would notice today but, at the time, it was new.
Recognizable yet new is what the Viennese were seeking for their salons and parties. These six quartets balance tradition with the beginnings of innovation in a way that pleased audiences at the turn of the nineteenth century. They were all the rage when they were published and further strengthened the young Beethoven’s already growing fame.
Besides the No. 5 quartet, I can recommend any of the Allegros in the set. They are all wonderful listening experiences. Of a more general nature, Beethoven employed Mozart’s conversational style between the instruments to a new level of sophistication. This marveled audiences and performers of his day.
According to Steinberg: “Almost certainly, Beethoven planned the six pieces as a set from the beginning, presumably with Mozart’s six quartets dedicated to Haydn with Haydn’s own six-headed opuses as his models. Like the symphony, the string quartet was recognized as an ‘important’ genre, and a composer’s first go at this medium was a consciously significant step.”
For me, these six quartets are entertaining and require little effort on the part of the listener to enjoy. Through the years, I have often played Haydn string quartets for formal dining at Twin Oaks, like at Thanksgiving or what not. These Beethoven quartets would serve as excellent substitutes. They are joyful and playful without any of the romantic heaviness of the middle group and ominous brooding of the late quartets. Pick any of them. You can’t go wrong.
Here are some recordings of the Opus 18 works...
Opus 18, No. 1 - The opening Allegro is particularly strong.
Opus 18, No. 2 - The closing Allegro takes the cake here.
Opus 18, No. 3 - Another wonderful opening Allegro.
Opus 18, No. 4 - A nice folk-like finale.
Opus 18, No. 5 - My favorite, the opening is so much fun.
Opus 18, No. 6 - Ending with a bang, as master of the form.
The classical music world is celebrating the 250th anniversary of Ludwig van Beethoven’s birth this year. I have wanted to post about Beethoven’s extraordinary string quartets for some time. Since I am not trained in music it is often difficult to articulate what draws me to classical compositions. But, nevertheless, here goes in my amateurish attempt.
Beethoven’s composed sixteen quartets for strings. They are traditionally divided into Early, Middle, and Late periods. His first six quartets all fall under opus 18 in his oeuvre. He composed these in his late 20’s in Vienna, a society ripe to appreciate them.
The Viennese enjoyed chamber music “parties” during this time. Professional and amateur musicians often joined together in salons, anywhere outside of the performance halls, to perform and celebrate all forms of chamber music, particularly trios and quartets. The first six Beethoven quartets were an instant hit in 1801 when they were published (composed 1798-1801). They were seen as fresh and lively, definitely in the spirit of Haydn and Mozart but with a twist.
For the most part, but for some signature sophistication and a bit of early romantic uniqueness, these six sound to me as if I am listening to those other great German masters. More specifically, Franz Joseph Haydn’s Opus 33 quartets had inspired Wolfgang Amadeus Mozart to write six quartets of his own and dedicate them to Haydn. In turn, Haydn’s Opus 33 and Mozart’s celebration of them are the foundation of Beethoven’s Opus 18 works.
Though the quartets are numbered 1 though 6, they were not composed in the order. The best scholarship contends that No. 3 was written first and No. 1 written second. The reason Beethoven switched them around is that they reflect a subtle evolution of his composition style. No. 3 is one of the more “traditional” of the set, just to prove to everyone that he could compose within the well-established classical guidelines of the day.
No. 1 is more of a “statement” featuring a bit more experimentation than perhaps Haydn would have found acceptable. (Haydn was already critical of Beethoven's Opus 1 No. 3 piano trio.) Beethoven wanted to open with a bang. Michael Steinberg writes: “What is unlike Haydn, who liked to put a minimum amount of material through more paces than one would believe possible, is the irrepressible bubbling of Beethoven’s invention, giving us new idea after new idea.”
No. 2 and No. 3 seek to emulate the compositional prowess of Haydn, with No. 2 presenting some “witty” phrases that echo Haydn’s famous sense of compositional humor. (Haydn frequently used various tricks to interject humor. One of the more obvious ones is the sudden, loud eruption of the orchestra in the slow movement of his “Surprise” symphony. This was intended to startle the audience just as it was relaxing, perhaps sleepily, into what was supposed to be a peaceful adagio.)
No. 4 is critiqued by Robert Greenberg as “uneven.” Be that as it may, it is another composition in this series that explores the traditional form of the string quartet. Another offering that says: “I can make the best music you are familiar with in addition to music you have never heard before.”
With No. 5 Beethoven emulates Mozart’s K.464 quartet. Like the No. 3, he doesn’t just try to copy or imitate, rather he takes it as a foundation by which to express music in his own way. This features both tributes and experiments where Beethoven establishes his credentials and exceeds the expectations of the audience.
As far as a complete work, my personal favorite is No. 5. Though Greenberg calls it a “patchwork” and the “weakest” of the six, it is the one I am instinctively drawn toward. Maybe my lack of musical training works in my favor here. I don’t “understand” that the composition as technically weak but, rather, as a piece filled with catchy little upbeat phrases that are so indicative of Mozart.
After No. 1, it is No. 6 that is considered the most ambitious of these lively and pleasurable compositions. Beethoven creates a “radical compositional act” by fusing what is technically a fifth movement into the traditional fourth movement finale. It isn’t something we would notice today but, at the time, it was new.
Recognizable yet new is what the Viennese were seeking for their salons and parties. These six quartets balance tradition with the beginnings of innovation in a way that pleased audiences at the turn of the nineteenth century. They were all the rage when they were published and further strengthened the young Beethoven’s already growing fame.
Besides the No. 5 quartet, I can recommend any of the Allegros in the set. They are all wonderful listening experiences. Of a more general nature, Beethoven employed Mozart’s conversational style between the instruments to a new level of sophistication. This marveled audiences and performers of his day.
According to Steinberg: “Almost certainly, Beethoven planned the six pieces as a set from the beginning, presumably with Mozart’s six quartets dedicated to Haydn with Haydn’s own six-headed opuses as his models. Like the symphony, the string quartet was recognized as an ‘important’ genre, and a composer’s first go at this medium was a consciously significant step.”
For me, these six quartets are entertaining and require little effort on the part of the listener to enjoy. Through the years, I have often played Haydn string quartets for formal dining at Twin Oaks, like at Thanksgiving or what not. These Beethoven quartets would serve as excellent substitutes. They are joyful and playful without any of the romantic heaviness of the middle group and ominous brooding of the late quartets. Pick any of them. You can’t go wrong.
Here are some recordings of the Opus 18 works...
Opus 18, No. 1 - The opening Allegro is particularly strong.
Opus 18, No. 2 - The closing Allegro takes the cake here.
Opus 18, No. 3 - Another wonderful opening Allegro.
Opus 18, No. 4 - A nice folk-like finale.
Opus 18, No. 5 - My favorite, the opening is so much fun.
Opus 18, No. 6 - Ending with a bang, as master of the form.
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