# Enigmatic Beethoven Movement



## arnerich (Aug 19, 2016)

There's nothing conspicuous about the andante con moto movement from Beethoven's String Quartet op 130. Compared to other movements from the quartet, notably the massive grosse fugue and the remarkably beautiful cavatina, it's easy to miss. But after listening to this quartet many times I find something profound about the andante. Perhaps it's the subtle introduction of rhythm and texture changes, or the phrases that go on curiously longer than expected, or the moments of sadness that creep in. But there's something enigmatic about this movement, I just can't put my finger on it. I encourage you to listen to it. It seems remarkable how remarkable it is without doing anything remarkable. Or maybe it's just me? Perhaps it really is as simple and effortless as it seems.


----------



## Pugg (Aug 8, 2014)

arnerich said:


> There's nothing conspicuous about the andante con moto movement from Beethoven's String Quartet op 130. Compared to other movements from the quartet, notably the massive grosse fugue and the remarkably beautiful cavatina, it's easy to miss. But after listening to this quartet many times I find something profound about the andante. Perhaps it's the subtle introduction of rhythm and texture changes, or the phrases that go on curiously longer than expected, or the moments of sadness that creep in. But there's something enigmatic about this movement, I just can't put my finger on it. I encourage you to listen to it. It seems remarkable how remarkable it is without doing anything remarkable. Or maybe it's just me? Perhaps it really is as simple and effortless as it seems.
> 
> ]


Video not available in my neck of the woods .


----------



## Weston (Jul 11, 2008)

arnerich said:


> . . . the phrases that go on curiously longer than expected. . .


This is the sort of thing that makes me sit up and take notice! However, _maddeningly_ I barely notice this in this movement at the moment. I might be hearing what you are hearing, but I'm not sure. Music is so subjective and it changes for me from one day to the next.

Anyway, I know the sort of feeling you're talking about. It just hasn't hit me yet. Another time I'm sure it will and I will keep this in mind for the next deep listen session of the Op. 130 which I usually do program to end with the Große Fuge. I might be spending too much focus anticipating that as a finale.


----------



## EdwardBast (Nov 25, 2013)

You have gotten me interested and I am doing some analysis. One thing that strikes me immediately is that the second note of this movement in the key of D-flat major is a B double flat!, as well as that the movement starts in the relative minor mode. The first harmony is a ii7 chord in Bb minor, the B double flat occurring when it goes from half diminished to a fully diminished seventh chord. This immediate modal ambiguity seems to be thematic — there are many touches of minor mode throughout, just little shadows over one or two beats, although the shifts are occasionally longer. But I've only spent a few minutes with it as yet. Later …


----------



## KenOC (Mar 7, 2011)

This movement doesn’t seem “enigmatic” to me, and it hasn’t seemed to draw much critical comment. But it’s very unusual for Beethoven, and I always look forward to it when listening to the Op. 130.

Beethoven said he always had a picture in mind when composing, though he seldom told us what those pictures were. This is one of the few Beethoven movements that suggest, to me, a very concrete image: a leisurely ride around town in a horse-drawn carriage. The rhythm throughout of the horse’s hooves, a wealth of interesting events and things to see… Little drama, just relaxed and amiable music of the highest order.


----------



## Mandryka (Feb 22, 2013)

KenOC said:


> This movement doesn't seem "enigmatic" to me, and it hasn't seemed to draw much critical comment. But it's very unusual for Beethoven, and I always look forward to it when listening to the Op. 130.
> 
> Beethoven said he always had a picture in mind when composing, though he seldom told us what those pictures were. This is one of the few Beethoven movements that suggest, to me, a very concrete image: a leisurely ride around town in a horse-drawn carriage. The rhythm throughout of the horse's hooves, a wealth of interesting events and things to see… Little drama, just relaxed and amiable music of the highest order.


It's odd because I think it's full of drama, rather disturbing drama, in the relation between the voices, all sorts of asperities and acerbic harmonies, and unexpected changes of rhythm and texture. Certainly not as congenial as you're description.

This may vary from performance to performance of course. I just listened to Hagen. I also briefly checked a live one from the Busch quartet and they seem to hide all the disturbing things that Hagen exposed.


----------



## arnerich (Aug 19, 2016)

Mandryka said:


> This may vary from performance to performance of course. I just listened to Hagen. I also briefly checked a live one from the Busch quartet and they seem to hide all the disturbing things that Hagen exposed.


Thanks for leading me to the Hagen quartet recording! It's very good. I think you're right, they highlight the drama and even the playfulness of the movement in equal measure. I'll share a link to that recording


----------

