# Late quartets #4: Op. 131



## KenOC (Mar 7, 2011)

Moving right along to a work that both Beethoven and Schubert thought was pretty good -- the one that was “stolen and gathered together from various things here and there.”

Kerman thought this quartet was Beethoven's most integrated, as opposed to the Op. 130, which he considered Beethoven's most "dissociated." What do you think? Does it deserve its fame? Or...not?


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## Fugue Meister (Jul 5, 2014)

KenOC said:


> Moving right along to a work that both Beethoven and Schubert thought was pretty good -- the one that was "stolen and gathered together from various things here and there."
> 
> Kerman thought this quartet was Beethoven's most integrated, as opposed to the Op. 130, which he considerred Beethoven's most "dissociated." What do you think? Does it deserve its fame? Or...not?


Absolutely agreed with Kerman. Love his book on the full LvB string quartet cycle.

You know I've been waiting for this one KenOC, here's the way I see it...

First off it's in c# a key Beethoven reserved for very special (and rather heavy hearted) things he has to say this piece and the op. 27 no. 2

Adagio ma non troppo e molt espressivo - One of my favorite fugues of all time. Such a lugubrious theme and such seemingly endless yet organic flow, it's heartbreaking without the usual appearance of optimism to win over. Here again Beethoven pushing the boundaries of counterpoint. I quote Wagner "reveals the most melancholy sentiment expressed in music".

Allegro molt vivace - A delicate and charming dance to overcome the pain of the Adagio.

Allegro moderato-Adagio - Two chords jar us away from the dance, and then on to a discussion between the strings, a pondering of philosophical proportions is seemingly answered by a achingly bey melody in the first violin, at which point the strings agree in unison and then right off to...

Andante ma non troppo e molt cantabile-(Più moss-Andante moderato e lusinghiero-Adagio-Allegretto-Adagio, ma non troppo e semplice-Allegretto) - ... perhaps the most sublime set of variations Beethoven ever gave us. It's 6 and ½ variations with the theme to correspond to the seven movements of the quartet itself, and is the arch of the entire piece. Just one more point to side with the theory of op. 131 being the most integrated of all Beethoven's cycle. My second favorite movement of the work after the fugue of course.

Presto - A wonderfully speedy scherzo movement with a few patches of slowing as if to reassess the direction their heading (the strings) with some scattered pizzicato passages. Soon it seems as if the strings take a wrong route and they end up...

Adagio quasi un poco andante - ...trudging through some woeful cemetery (seemingly frozen rhythmically) on a dark rainy day. All the individual movements have been in different keys but suddenly..

Allegro - ...we are violently jolted back to the c# key from the beginning, and the battle of sorts begins between the violent sounds and grand lyricism, as if the good nature and optimism Beethoven embraced all his life (through his music at least) are grappling to come to terms with death appearing after the journey through the adagio that preceded it. The struggle seems bleak throughout until slowing down and surging up to C# Beethoven's spirit wins out in the end I feel.

Op. 131 is the to me the greatest chamber work ever offered to mankind. It is miraculous.

If your interested in a more thorough analysis check this video out:


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## Ukko (Jun 4, 2010)

I think of 131 as the sampler quartet; ideas that had to be included in the set. 135 was reserved for summarizing, so 131 had to handle it. Great job, too.


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## Fugue Meister (Jul 5, 2014)

What do mean by sampler quartet? I mean I get that KenOC quoted "stolen and gathered together from various things here and there", you suggesting that the op. 131 is some sort of scattershot piece of music? I think that is also true but I believe Beethoven challenged himself to make these cobbled together bits from "here and there" completely and fully integrated, I mean he even quotes the beginning slightly in the ending . Not that I'm saying you're criticizing but are you belittling this colossal masterwork? Well all I can say is maybe your right, and maybe I'm right...


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## Fugue Meister (Jul 5, 2014)

... And how come this thread isn't getting any love? I mean I want some back and forth here people... I know KenOC does..


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## Fugue Meister (Jul 5, 2014)

Fugue Meister said:


> Allegro moderato-Adagio - Two chords jar us away from the dance, and then on to a discussion between the strings, a pondering of philosophical proportions is seemingly answered by a achingly bey melody in the first violin


This was supposed to be "achingly beautiful" not "achingly bey", I don't know what that means. Maybe the magic moderators could fix another screw up from yours truly.


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## Ukko (Jun 4, 2010)

Fugue Meister said:


> This was supposed to be "achingly beautiful" not "achingly bey", I don't know what that means. Maybe the magic moderators could fix another screw up from yours truly.


I was immediately transported to the achingly beautiful Bey of Fundy.


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