Dear Musicians and Music Lovers:
The last six string quartets by Beethoven – collectively the “Late” string quartets, although they are really not deceased – were written from 1824 to 1826. There are actually five quartets; you may remember that the original fugal finale of the B-Flat major quartet, Opus 130 - which we played a few weeks ago - was published separately as the Grosse Fugue, Opus 133 after Beethoven composed a new finale for Opus 130.
Beethoven had not written a string quartet in a dozen years when he sketched a quartet in 1822 and offered it to the publisher Peters in Leipzig, who turned him down. In November of that year, the Russian Prince Nikolaus Galitzin, a good amateur cellist, asked that Beethoven compose up to three String Quartets. The prince, having heard the premiere of Weber’s Der Freischutz in June, had considered commissioning Weber for the quartets, but the violist in his personal quartet, Karl Zeuner, convinced the prince to turn to Beethoven. Hooray for violists!
Beethoven accepted, but first he had to clear the decks of a few other works: the Ninth Symphony, the Diabelli Variations and the Missa Solemnis. It was 1824 before he could begin composing quartets in earnest, and he completed the three quartets for Galitzin in 1825.
Just as with his Opus 18 quartets, the opus numbers do not reflect the chronology of composition. Opus 127 was composed first, followed by Opus 132, and Opus 130 with the original fugue which became Opus 133, all completed in 1825. The C-Sharp Minor quartet Opus 131 was finished in 1826, followed by the final quartet Opus 135, followed in turn by the new finale of Opus 130. This new finale was the final substantial work by the composer.
Beethoven was delayed in writing Opus 132 by ill health, one of the bouts of severe intestinal inflammation he suffered in his last years. His doctor told him to give up wine and coffee and to go to the country for fresh air. In May, Beethoven had recovered sufficiently to go to the Viennese suburb of Baden, where he composed the quartet.
The Adagio movement bears two inscriptions: “Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart,” (Holy song of thanks of a convalescent to the Deity) and “Neue Kraft fühlend,” (Feeling new strength). While it is logical to assume that Beethoven was writing of his own convalescence and recovery, there is a deeper meaning here as well.
Beethoven was a deeply religious man, and also believed deeply in the healing power of music. He was known to visit those who suffered and improvise for them at the pianoforte. His subjects were grateful, and wrote of the solace he gave them either from physical maladies or from grief. One woman, who was grief-stricken because of the death of her child, was invited to Beethoven’s apartment where she reported he said “We will speak in tones,” before performing an extended improvisation for her. Apparently Beethoven spoke little or not at all during these healing sessions, communicating only through music.
In light of Beethoven’s belief that music could heal, the central theme of the Heiliger Dankgesang movement is perhaps more than merely autobiographical. It is Beethoven reaching across 185 years to play for us, to heal our spirits and give us solace and comfort.
The Opus 132 is a beautiful and inventive work of a master in his intellectual prime, and we hope you will enjoy exploring it with us.
Our Community Musicians are invited to join us in exploring the Mozart String Quartet in E-Flat Major K 428. If it turn out there are a lot of us, of course we may make a substitution, but we will improvise an outcome in the moment.
So, grab your ears, grab your instrument, and join us for great music and great fun!
Let’s play!
Jim (the violist)
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