In 1825, while he was working on this quartet, Beethoven (1770 - 1827) fell seriously ill. At the center of his creation is one of the most famous and deeply personal movements in all of quartet literature. 

 

Beethoven is not only one of the most well-known composers, but also the most revolutionary of all time. He was the first to free musical composition from the constrains of satisfying patrons’ wishes to the freedom of artistic expression of a composer’s inner world. Beethoven studied with Haydn and his early works reflect the classical style of the times. He was able to gain respect from his potential patrons through the recognition of his musical genius. In his mid-twenties Beethoven began to become aware of the decline of his hearing. This period was later recognized as his “middle period” where his work reflected the inner struggle of his changing life situation.

 

The late period, where he focused almost exclusively on string quartets, exudes a more spiritual place of reconciliation with his situation. Opus 132 with its vacillation between A minor and A major can be seen to represent the more positive relief of his spiritual journey, acceptance of his fate, and gratitude for the wonders of the world around him. He wrote this work in 1825, the year after he finished his ninth symphony, and after he survived a deathly illness. The optimistic flavor of the work most likely comes from his gratitude for the gift of recovery.  

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This particular quartet may also evoke images of Beethoven’s expression for his love of nature: 

“How happy I am to be able to walk among the shrubs, the trees, the woods, the grass, and the rocks! For the woods, the trees and the rocks give man the resonance he needs.”

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The very famous third movement is titled: “Holy song of thanks (Heiliger Dankgesang) to the divinity, from one made well.” The movement alternates from the tender and slow chorale writing to the buoyant andante sections which express so much gratitude and joy. The first movement begins with a slow, fugal-type subject which sets the stage for the vacillating quality between searching and reaching for all that proceeds. The second movement is a folk-like dance. The fourth, a short coy march, is bridged to the finale by a short recitative dialogue with the first violin. The Allegro appassionato follows without pause into a lilting figure in the lower voices underneath the sweeping melody in the violin, later joined by the viola. This final movement exhibits a sense of wonder, joy, and longing all rolled into one. It concludes with a presto bubbling with exuberance and long lines that eventually culminate in such chords of resolve and completion.

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––Program notes by Mary Papoulis