The Story

            They actually laughed at him. They had gathered under the direction of Count Andreas Razumovsky to rehearse these new string quartets, and as they began to play, each believed this whole thing to be some kind of practical joke. The music was, frankly, unplayable, even for the Count’s premier ensemble. The lead violinist led the complaints. He was called Ignaz Schuppanzigh, and (forgive me, Clive) he most certainly deserved it.

            Schuppanzigh was not the only one to complain about the obscene difficulties in this set of string quartets by Ludwig van Beethoven (1770-1827). Another violinist, Felice Radicati, arrogantly asked the composer whether he really thought these quartets were actually music. To Schuppanzigh, a respected friend, Beethoven is reported to have said, “Do you think I am worried about your wretched fiddle when the spirit moves me?” To Radicati he was more wounding. He responded, “Oh, they are not for you. They are for a later age.”[*]

            Another great musician, the Austrian pianist Artur Schnabel, once wrote that he was only interested in music that was “better than it can be played.” He was referring to all manner of piano music, but Beethoven so beautifully fit the description that you will often find the misquote “Beethoven’s music is better than it can be played.” And it is. It is music that shows us a kind of struggle to a Platonic ideal. No one performance ever rises to the challenge completely.

The Music

            The fourth movement of Opus 59, No. 3 is relentless and ebullient. It begins with the viola offering up what sounds like a fugue subject. When the second violin and cello enter with their respective answers, they seem to confirm the exposition of a fugue. Only when the first violin completes the texture is the idea of a legitimate fugue abandoned. But once this music gets going, there is little rest for either the instrumentalists or the listener. This is a calorie-burning workout. Pay close attention to the playful dialogue between the instruments at various points (such as 0:47). Enjoy the arrival of the dancing theme (1:34) whose punchy rhythms are reinforced by the two violins playing in octaves. A dramatic clausula (2:45) signals the coming of a darker mood, but Beethoven subverts this expectation with a return to the main theme, this time in a rather rustic, country dance variation. Trills lead in the texture of the theme’s third statement (4:22), culminating in a kind of false ending (5:05). Beethoven then gives us a quintessentially Classical “once more, from the top” coda, ending in a blazing cadence. If you don’t find your feet involuntarily tapping to this one, might I suggest setting an appointment with your healthcare provider.

Dive Deeper

            Listening to a single movement of a multi-movement work is a bit like reading a single chapter of a great book. If you want to experience this finale in its full glory, listen to the entire quartet, Op. 59, No. 3. For fun, you can compare it to Mozart’s K. 465, the so-called “Dissonance” quartet, in which Beethoven found inspiration for this particular work. If you want another example of Beethoven writing “for a later age” and you’re brave, try out his piano sonata Opus 106, the imposing “Hammerklavier.” But bring snacks; the “Hammerklavier” is almost an hour long. Want more of Beethoven’s lighter side? Try his Symphony No. 2, Opus 36, especially the fourth movement.

[*] Unfortunately, the veracity of these stories is suspect. Early biographers of Beethoven were a bit…artistic. However, these two quotes square with what we know of his personality. If they’re not true, well, they should be.