The Beethoven String Quartet Project: Op. 130 (with Grosse Fuge, op. 133)

As the necessary home confinement continues today and for the foreseeable future, I have turned to a project I intended to engage in at some point this year: listening to and reflecting upon the magnificent string quartets of Ludwig van Beethoven, who was born 250 years ago. For each of the next 17 days, I hope to post a short paragraph or two on these stimulating pieces.

STRING QUARTET No. 13 in Bb MAJOR, op. 130 (with Grosse Fuge, op. 133)
I listened to the Quatour Ébène, recorded live at the Festival Wissembourg on Thursday, August 18, 2016. It is available on YouTube.

Adagio ma non troppo - Allegro

Presto

Andante con moto, ma non troppo. Poco scherzoso

Alla danza tedesca. Allegro assai

Cavatina. Adagio molto espressivo

Grosse Fuge (op. 133)

Opus 130 was written in late 1825 and early 1826; premiered in March, 1826 and revised for another premiere in its final version in November, 1826. It was published in 1827, the year of Beethoven’s death.

As I wrote the other day, the big question with opus 130 is whether you include the Grosse Fuge as the last movement, which Beethoven intended, or the alternate Allegro finale which he added later in the year of 1826. I listened to both versions, going with the alternate finale a few days ago (with the wonderful recording by the Guarneri Quartet) and going “whole hog” with the Grosse Fuge this morning in an extraordinary, intense and mannered relatively recent performance by Quatour Ébène.

I’m glad I did it in that order! The Grosse Fuge is a movement like no other and pushes the realm of the string quartet even further, if that’s possible.

The performance by Quatour Ébène of the entire quartet is sensational and I particularly appreciated the risk-taking and immediacy of the playing of first violinist, Pierre Colombet. It is also a poignant coincidence that this quartet was to visit Toronto to play on the Music Toronto series on April 16 to play an all-Beethoven program of op. 18 no 6 and op. 132. We will hope fervently that this program is rescheduled and that they visit us soon!

William Kinderman explains a bit about the two finales for this quartet in his biography of Beethoven: “Beethoven’s composition of the substitute rondo finale cannot be equated with a renunciation of the quartet in its original version with the Grosse Fuge as finale. Various reasons have been proposed to explain Beethoven’s willingness to provide a new finale: they include the extra fee; his recognition of the difficulties experienced by the players and listeners (in spite of his comment “Cattle! Asses!” when he heard the fugue had not been well received); his depressed and possibly conciliatory state of mind by the autumn of 1826, when the substitute finale was written; and even the changing aesthetic prospective brought about by his composing the last two quartets, opp. 131 and 135.”

Typically, I hold the wishy-washy view that both versions are wonderful! Although I will say that, when in the middle of the Grosse Fuge one feels surrounded by the most timeless and abstract sense of existence. It’s quite mesmerizing.

Listening to the whole quartet again was a treat. The expressive canonic entries in the introduction to the first movement are beautiful and evocative. I was struck more deeply by the contrast between the lyrical sections and the “non ligato” 16th-note ones and the powerful dynamics (subito or forte on every other 8th note). Also love the wonderful messa di voce markings of crescendos that give breath and life to short phrases or ensemble chords.

The folky, brilliant second movement is full of energy, sharp articulation and I love the little bridge between the sections.

Movement three is complicated on the page and I noticed this time the “poco scherzoso” feel of the whole thing. The fragmented nature of the theme, passed around as it is from instrument to instrument, is powerful, as is the yearning quality of the 16th-8th-16th rhythm in the “cantabile: section. And I adore Beethoven’s tribute to the tritone after the Tempo I marking near the end, and the gorgeous last chord.

The fourth movement continues to be a favourite of mine: nostalgic, bringing to mind simpler days, featuring a lovely sense of abandon. And the fragmented section near the end is so effective.

It was lovely to experience the Cavatina again after wallowing in it so recently. It really is a celebration of the major 6th and perfect 5th intervals and their expressive qualities within the melody. And I am still moved deeply by the relationship between the violin parts in this movement: they have each other’s backs!! The Quatour Ébène really leaned into the “Beklemmt” section, highlighting how devastatingly touching and beautiful it is. I adore the flat-7 in the cello part four bars from the end before they all settle on the final chords.

The wild opening (Overtura) of the Grosse Fuge is full of uncertain harmony that flows into the angular, aggressive theme and counter-theme. The subito fortes on every beat are relentless and exhausting. This is going to be a ride! This opening empties into the triplet section which gets more and more dense with a curious lack of dynamic markings except fortissimo and subito forte! The dense texture continues for a long time, with a reminder at one point “ben marcato” for the players.

We’re suddenly then into the “Meno mosso” section in pianissimo and a wholly different sound world: brilliant, delicate, transparent, with the theme turning snaky and creeping upwards. A section in unison/octaves leads to the “Allegro molto” with yet another variation and mood, this time in 6/8 time with gradually an episode being introduced where the first note of the theme is lingered on. Voice pairings are used and this whole section sounds very modern and radical. I love the trill section!!

The second “Meno mosso” section is majestic and rhythmically dense that leads to long chords punctuated by trills and ornaments. The following “Allegro molto e brio” is more light and a more traditional harmonic world emerges. I love the brief pizzicato version of the theme…light and fun…then a long note section leading to a reminder of the very opening of the theme which itself leads to a climactic unison/octave statement of the theme with the whole quartet. This is thrilling!

How do you finish such a movement? With extend cadences that open into a triumphant finish. There’s something comforting in the fact that Beethoven won’t leave us comfortless in the wilderness. There is a sense of hope and familiarity in these final bars.

Peter Laki writes: “Movements 1-5 have already stretched the string-quartet genre almost beyond recognition. Beethoven’s finale is extraordinary even after one has learned to let go of all expectations based on the past. The “Great Fugue” is much more than a movement: it can be regarded as an entire composition by itself.”

One more to go: opus 135 tomorrow. I can’t say I’m looking forward to the end of this extraordinary and deeply fulfilling listening journey.