# Beethoven Op 74 "The Harp" Why not more popular?



## aussiebushman

Arguably overshadowed by the Op59 quartets, also the magnificent late quartets, for me, the Harp is one of Beethoven's finest. It seems to have attracted relatively little attention by musicians and recording studios.

Probably designed to be more accessible to his public after the "revolutionary" Opus 59 set, it is beautifully crafted and melodic with exquisite balance between the strings. Despite his poor relationship with Haydn, there was no lack of respect and the Harp suggest homage to Haydn.

The rather lengthy, but extremely informative analysis by Michael Parloff is well worth watchin in full.






I should appreciate comments from those with greater knowledge than my limited musical knowledge


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## CnC Bartok

I never really got much from this quartet, as it is very much overshadowed by the Razumovskies, as you say. That said, I always enjoyed the pocket drama that is Op.95, so I revisited the Harp (and Op.127 incidentally) a couple of years ago. It's now one of my favourite of the whole set, and it easily stands comparison with its immediate predecessors, even if it is lighter in tone.

Oddly enough, when one sees lists of recommended works/suggested basic classical collection, you always see Symphonies 1-9, a selection of named (of course, the unnamed ones are rubbish!?!?) Piano sonatas, and yet there's never a recommended selection of the Quartets. Wouldn't this one do as well as any of them as a starting point?

The quartet was written the same year Haydn died, so some kind of homage, intended or not, would not be a surprise.


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## aussiebushman

Unlike your experience, the Harp grabbed me from the first time I heard it, whereas the Op 95 "Serioso" despite probably being more innovative, actually never did. 

In the OP 74, perhaps the balance of tradition and experimentation is most evident, like the double trio in the third movement as an example of the latter Also the mix of contemplation and powerful originality certainly appeals to me.

Regardless. one always seem to return to the Beethoven chamber music even after a prolonged period of listening to a wide variety of music of other composers. There is just so much to explore and enjoy, right from the OP 18 through to the late quartets


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## hammeredklavier

aussiebushman said:


> Probably designed to be more accessible to his public after the "revolutionary" Opus 59 set, it is beautifully crafted and melodic with exquisite balance between the strings. Despite his poor relationship with Haydn, there was no lack of respect and the Harp suggest homage to Haydn.


I read that Haydn and Beethoven reconciled shortly before Haydn's death:
https://www.thegreatcoursesdaily.com/music-history-monday-beethoven-and-haydn/
https://www.mmfvt.org/frans-corner/2020/6/8/beethoven-reconsidered

also: 
https://en.wikipedia.org/wiki/Mass_in_C_major_(Beethoven)
"On accepting the prince's commission Beethoven had praised Haydn's masses, calling them "inimitable masterpieces." Beethoven meant it. He clearly studied Haydn's masses while composing his own, no doubt for reasons far beyond the fact that the Esterházys had commissioned it, as we see from his sketches for the Gloria. The sketches include two passes copied from the Gloria of Haydn's Schöpfungsmesse ("Creation Mass"), one of four late Haydn masses easily available to Beethoven in published editions."


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## Orpheus

I have no idea why it's not more popular. I can only say that it's probably my effective second favourite of his middle and early quartets, after the Razumovsky quartets (which I like a great deal and am not inclined to try ranking against each other, so they take equal first place in my estimation). I would probably also listen to it in preference to several of the late ones. Not sure I particularly care for the "Serioso", by comparison.

Maybe I am slightly prejudiced towards Op. 74 due to playing the harp myself - but then again it doesn't particularly _remind_ me of the instrument, so I probably wouldn't be inclined to make the association, but for the nickname.


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## PeterF

It took me many years to begin to really enjoy Beethoven’s late quartets. Loved the first 6 - Op.18 right away. Then it was Op.74 and op.95 slightly before I was able to appreciate the 3 Op.59 quartets.
Not sure why Op.74 often seems left out when discussing the “best” or favorite Beethoven string quartets? But it is one I definitely do like.


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## Olias

I tend to enjoy the more traditional quartets that push the boundaries of classical form but don't toss them out the window. So my favorites are definitely the Opus 18 set, Opus 59 #3, and the Harp Quartet. My theory is that it isn't as "popular" because it isn't full of the angst of the "Serioso" or the symphonic scope of the Opus 59 trilogy. Who cares though, because it's marvelous.


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## Merl

I love the Harp but I'd argue that the final movement isn't one of his strongest and is a little ill-fitting on the end of such an enjoyable quartet. I love the first movement (probably due to extensive use of pizzicato - you know I can't resist it! ) but, for me, it tails off at the end. Before you start shouting at me have another listen. Does that final allegretto 'fit' to you? It never has to me but that doesn't stop me still enjoying it. I just wish he'd put something bolder there rather than a fairly safe set of classical variations. Don't shoot me
It's an opinion.


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## SONNET CLV

Ah! The Harp Quartet!

It slips my mind from what authority I get my information, but apparently Beethoven was way ahead of his time in composing this quartet as he was, in essence, anticipating clock maker Matthias Hohner's crafting of the first harmonicas in 1857. How could he have been so prescient? Who can explain genius! But since there were no "harps" in existence yet, Beethoven was forced to compose his music for existing instruments, and he chose strings: two violins, a viola, and a cello. Though he suspected that all would recognize the true instrumental nature of the piece. Which may explain the lesser popularity of this specific quartet (which I believe was Toots Thielemans's favorite piece by Beethoven -- again, source is unavailable), as it was not designed for the traditional string quartet at all.

Here are some fellows who can probably do the Harp Quartet full justice. And I eagerly await their recording.









Hope that explains it all to you. Meanwhile, I think I'll go off and listen to that spurious, sham string quartet version of the Beethoven Opus 74, as it's the best we have for now.


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## mparta

I came late to this piece but have learned to love it. I'm not a string player but it's fairly clear that achieving an acceptable balance with the virtuoso violin at the end of the first movement is a huge challenge. I do like the way the Alban Berg does it, but I like them period. The end of that movement is really exhiliratingly beautiful.


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## Bruckner Anton

The coda of the first movement is one of my favorite music. Such a masterful and natural way of combining materials.


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## Kreisler jr

I thought that it was among the more popular. I used to be a bit puzzled that three of the most popular Beethoven quartets, the op.18/4, 59/3 and op.74 were among my least favorites. I understand that the brilliant C major is attractive for many listeners. The c minor is the weakest of all of them, the earlier c minor string trio in op.9 is a better piece, IMO. I used to find the pizzicato in the "harp" a bit silly but now I consider the first movement a great and fun piece. The slow movement is also very good but I am still not fond of the other movements. The 3rd movement seems to exaggerate the contrast with a single dramatic movement in a more lyrical piece and the finale is a bit light (not to say trite) after this storm conjured up from nothing.


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