Ludwig van Beethoven - String Quartet No. 12, Op. 127
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- čas přidán 22. 05. 2024
- - Composer: Ludwig van Beethoven (17 December 1770 -- 26 March 1827)
- Performers: Talich Quartet
- Year of recording: 1977
String Quartet No. 12 in E flat major, Op. 127, written in 1823-1824.
00:00 - I. Maestoso - Allegro
06:33 - II. Adagio, ma non troppo e molto cantabile
23:36 - III. Scherzando vivace
30:40 - IV. Finale. Allegro - Allegro comodo
This work may well be the most mild-mannered and conventional of Beethoven's late quartets. It is ironic that he originally had more grandiose ideas for it, intending it to contain six movements, including one subtitled "La gaieté" and an Adagio apparently of darker character. In any event, Beethoven settled on this less ambitious, but still effective scheme of four movements, with an Adagio theme and variations second movement, followed by a scherzo and a jovial finale.
- What is unusual about this quartet, however, is not its traditional qualities -- rare enough in Beethoven -- but its lack of muscularity and conflict in the first movement. One hears little nervous energy and angst here, but plenty of lyricism in the main Allegro section that makes up the bulk of the movement. The introduction is marked Maestoso and presents a fanfare that builds up, imparting some expectation of drama and drive, if not of Beethovenian heroic fury. What follows is a lively theme of gentle, lyrical character. In fact, all the thematic material in this movement is nearly free of tension and grit. There is some contrapuntal activity in the fabric of the main theme (and its variants), and the fanfare of the opening returns just before the development, but merely yields once more to the cheerful main material. If there is anything unusual about this movement, it is the development, which resembles a succession of variations. The recapitulation maintains the generally peaceful tenor of the movement, and the coda turns sweet and caressing.
- The aforementioned second movement theme-and-variations (Adagio ma non troppo e molto cantabile) presents a lovely, songful melody and six variations. Yet the movement has a thematic structure similar to a typical ABA scheme, with the third variation comprising the middle section. But one may hear it as separate variations as well. It has been asserted that the main theme does not appear conducive to thematic offshoots, owing to its mellifluous character and seeming uniqueness (and lush beauty), but Beethoven manages to mine its depths to find the six very attractive variations and a coda. The third variation's prayerful character imparts a religiosity that seems to highlight, if not define, the mood of the entire Adagio.
- The third movement Scherzando vivace breaks with the gentler moods of the music thus far. It begins, like the first movement, with a fanfare, but here on pizzicato strings. The main theme appears on the cello, and is bandied about amid a fugal treatment that starts, stops, and starts again. The middle section is colorful in its dance-like music and constantly changing ideas. On the whole, this movement offers splendid contrast to the lyricism of the preceding pair.
- The finale returns to the mood of the first two movements, with lively but unhurried music that shows no sign of that Beethovenian nervous energy. This is music of folk character, with the main theme sounding a bit oafish, but cleverly so. Its slightly odd character and husky rhythmic accompaniment impart a rural air to the proceedings. The thematic material of the second subject is in much the same mode. There is a short development section, followed by a reprise (which comes after a deftly wrought false reprise).
This quartet was first published in Mainz in 1826. The composer dedicated it to Prince Nikolai Golitsin, who had commissioned him to write it and the two quartets that followed. - Hudba
I remember when this first dropped. We 1810s kids really had the best music.
Thing is, it was. And is!
Well said!😀
The mix between intensity and emotionallity makes this quartet a real masterpiece.
It's odd how sometimes a piece just doesn't work for you, and then you listen to it again and it just does. For ages I wrote this one off, but on this last listen it just worked for me. Great quartet.
Usually, that kind of thing is also applicable to all sorts of stuff
@@azureNotsure Yes, especially deeper/more subtle composers like Brahms and Schumann
I understand you. It's not an easy piece to listen and to enjoy it one needs to hear it many times.
It's called brainwashing. You can force yourself to like even the worst things.
@@ymaysernameuay1113 ...I guess so? But I made no effort to like this. Just didn't one day and did the next.
I LOVE BEETHOVEN FOR EVER
The Maestoso gives me chills. It's so lyrical and beautiful.
I am a rock musician,so I do not read music except for chords,but I listen to a lot of classical music,and love Beethoven,I read the biographies,etc,and one thing stands out for me, these late quartets which I listen to also on vinyl,they were already in the future,somber and not appreciated in their own time,sort of like some of the avante garde musicians of today,and of course some of the progressive rock musicians of our day,Beethoven suffered a lot in his life,and it shows here,almost all great art does come from suffering,R.IP.Ludwig.
Rock is awesome. I'm a classical musician but I enjoy rock a lot.
Wow, this is amazing! Classical ♥️ Rock, while Rock ♥️ Classical
As you are into Rock music i recommend a lot to start learning music theory, it will expand your knwodlege in every way and also you'll be able to improve your experiencie by listening to classical music!!
I have to agree with@@Erikf_r.
If you understand what you are listening to because you understand theory you will enjoy it even more than just listening to it without knowledge
@@Erikf_r Hi Erik, what kind of music theory do you mean? Counterpoint, harmonics or other stuff? I am not a musician but a music lover, and it's always possible to learn more. But where to start with?
I was led here while reading Marcel Proust. He refers to this piece (and the three following) in volume two of Remembrance of Things Past. It's wonderful.
14:29 One of the most beautiful moments of suffering in Beethoven.
I love this version of the second movement
It was back in 1825 that this piece was performed for the first time on March 6.
I was born 143 years later minus 1 day after it was preformed. March 5, 1968
Somehow it was universally disliked among both audiences and critics during its time.
Ludwig van Beethoven:12.Esz-dúr Vonósnégyes Op.127
1.Maestoso - Allegro 00:05
2.Adagio, ma non troppo e molto cantabile - Andante con moto - Adagio molto epressivo - Tempo I 06:33
3. Scherzando vivace - Allegro - Tempo I - Presto - Tempo I 23:36
4.Finálé:Allegro - Allegro comodo - Allegro con moto - 30:40
Talich Vonósnégyes
Thanks king
What I find outstanding about this version is that it has more lyricism and transparency than most other versions I've heard.
Tras componer sus obras más emblemáticas (Novena sinfonía, Misa solemne, las últimas sonatas para piano), Beethoven abrió nuevos horizontes al leguaje musical y en ese empeño le encontró la muerte. Cinco cuartetos -y la Grosse Fugue- rematan esta última andadura de Beethoven. Algunos de entre ellos introspectivos, todos visionarios, forman en sí mismos una obra prodigiosa. Como escribe Bernard Fauconnier en su biografía de Beethoven: « Le “dernier Beethoven” laisse des œuvres testamentaires d’une profondeur stupéfiante, inépuisable, qui préparent, annoncent, indiquent le chemin de la musique pour les deux siècles à venir » . Cuando el príncipe Nicolás Galitzine le encargó "uno, dos o tres" cuartetos, sin saberlo, abrió las puertas a una de las creaciones más portentosas de toda la música de cámara. Pues, tras ultimar el encargo, Beethoven seguiría componiendo un cuarto y quinto cuarteto y un movimiento final que forman un corpus excepcional para el cuarteto de cuerda. En tan solo dos años daría forma a sus últimas composiciones, probando así su fervor por este conjunto de instrumentos, altamente expresivo. Sobrecogedoras, yo diría, de tal modo las cuerdas nos penetran. Jean decía que le apretaban el alma hasta rendir sazón, por obligarle a florecer actos, sueños y pensamientos. Este primer cuarteto de la serie final decía abrirle las puertas del paraíso y alzarle mas allá de los picos que él amaba escalar. El adagio, en particular, despierta en mí la cuita de nuestro adiós, tanto estuvo asociado a esos años de mutua e inalcanzable ensoñación. Un extraño comienzo marca el signo de la hesitación que su desarrollo deja en suspenso. Tema amplísimo al modo del vuelo nupcial de ciertas aves con un ritmo constante de corchea-negra en 12/8, desarrollado sin turbación por el primer violín hasta rendirme inerte, ya vencido antes del “scherzando” y derrotado por tamaño divertimento. ¡Cuánta verdad hay en ello…¡ Sin atinar su consecuencias, algo ebrios, cantábamos aquello de “Il n‘y a pas d’amour heureux” .
Following the scores of these late quartets reveals Beethoven's incredible mastery of music - for example notice how often he changes to a new key imperceptibly, or the interplay between the voices, and how a subordinate part suddenly becomes the main voice mid phrase. Really, it's mind boggling.
I ve Heard a singer explain how complex and astonishing were thé indications in "an die gerbe geliebte"toio
Geliebte"too
This is the truth. You know this is something unusual and special on first listen. But don't get it, because there is too much too take in. It can take years to take music in, even decades. In the case of these later masterpieces of Beethoven, they grow and grow.... and then they grow... and then they grow again.... ad infinitum. This is because they are built around the simplest cells, even a semitone step. But the ways in which that step or other changes interrelate is like genetics, the periodic table, the variation of DNA etc. Most pop music has an immediate hit and then, later, a nostalgia value. Late Beethoven on the other hand is fresh, every year, just like spring, and the variations of evolution itself.
@@tomowenpianochannel Yes, indeed Beethoven's late quartet writing is almost unfathomable for most people. Your point about it having so much to take in, in comparison to melody based music, is exactly the point I make about those who claim that Schuberts celebrated quintet is the pinacle of chamber music. It is certainly not on Beethoven's level. However, I would take issue with your comparison with evolutionism. Evolutionism is an effort to remove the idea of a fundamental underlying intelligence, claiming that everything is the result of random chance. Beethoven's late quartetes are the result of profound intelligent design, the very opposite. If you want to compare Beethoven's works with evolutionism you would have to take the view that if random notes were placed on blank manuscript for long enough works of his magnitude would eventually be produced.
@@billguyan9626 Totally agree - the simple connections and short themes that recur over and again are woven into texture after texture, but the architectural structure, adventurous harmonies and sheer invention of the late quartets are beyond compare.
The first proto-modern music compellation. In the 1820's. mind-numbing. One can only wonder if Motzart had been around -- and heard this style -- what he would have come up with.
Beautiful ! Thanks for posting :)
15:51, very strange. I would swear I can hear a brass section! Beautiful voicing.
Thank you so much for posting this with the sheet music as well! :)
I first heard Gershwin and that pulled me into music. I got. B.Mus from Sydney Uni and for this whole time I never took any notice of the late quartets. Thank God or Darwin I went on a road trip and wanted some music that would last for hours. I chose the complete quartets. Wonderful, incomparable, awesome music, maybe only possible because his deafness forced him to concentrate on nothing else. Another sublime late piece is the Arietta from the last piano sonata.
Thanks. What a wonderful service.
My pleasure Martin!
Yes, it was on all radio channels...
It sounds so confident, it makes me feel very confident!
Amazing!
09:48 variation 1
12:54 variation 2
14:38 variation 3
16:36 variation 4
19:38 variation 5
20:35 variation 6
Wrong times
No you are right
This movement is so incredible. The entire piece is so underrated
This is great! Would you consider doing a breakdown of the final mvt? That would be super helpful! Thank you. :)
the best quartet of LvB together with no 15
YES INDEED - AND I ALSO LIKE NUMBER 1
beethoven was certainly a fan of the I-V64-I-V6 chord progression
Indeed - the opening of the slow movement of the Choral Symphony springs to mind inter al.
he used exactly what he needed
I love the Talich Quartet.
I've never really liked 3rd and 4th movement until I heard Takacs Quartet rendition. Now it is one of my favourite pieces by Beethoven.
Give Quatuor Ebene's interpretations a go
the third, it is amzing!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Some of the most exciting music Beehoven ever wrote I scream and dance like a wild beast in the finale.I love how the leading tone edges you but the theme is great this music is full of beethovenian nervous energy I dont know what programnotes is saying. The most rollicking thing one can imagine like the jazzy variation in c minor piano Sonata. The 19th century must have thought this wasAfrican music. I wish Hadyn could have heard the finale he gets folksy and bumptious but few places in history get this wild maybe Bartok 2nd pf concerto but this was rare until Ligeti and African drum music hit the university composers !
I've always liked the Talich Quartet.
1:30 throwback to Mozart's 40th?
His piece got longer and deeper as he age
Please, keep your perverted thoughts to yourself!
Fallout 4 brings me here :P
Que tristeza , se siente su alma desesperada, en el abismo de la sordera , poco le faltaba para morir , no lo sienten? Era maravilloso !!!!
The date of composition shown is incorrect -- Beethoven did not start work on this quartet until after the premiere of the 9th symphony (middle of 1824.)
The new music Tonal Scale is as thus: 12 7 5 2 3 : 1 4 5 9 14
Not 12 with 7 & 5 BUT 14 with 9 & 5 [2^(1/14)]
These are the Tonal Scales growing from f (by cycles of fifths):
All Scales build from the first mode: equivalent to Lydian f
White keys are = & Black keys are |
12 with 7 & 5 [2^(1/12)] =|=|=|==|=|= {1,8,3,10,5,12,7,2,9,4,11,6} 1thru7are= 8thru12are|
7 with 5 & 2 [2^(1/7)] ===|==| {1,3,5,7,2,4,6} 1thru5are= 6&7are|
5 with 2 & 3 [2^(1/5)] =||=| {1,3,5,2,4} 1&2are= 3thru5are|
Now evolving up the other end
5 with 4 & 1 [2^(1/5)] ==|== {1,3,5,2,4} 1thru4are= 5is|
9 with 5 & 4 [2^(1/9)] =|=|=|==| {1,8,3,7,5,9,2,4,6} 1thru5are= 6thru9are|
14 with 9 & 5 [2^(1/14)] =|=|===|=|===| {1,12,3,14,5,7,9,11,2,13,4,6,8,10} 1thru9are= 10thru14are|
Joseph Yasser is the actual originator of the realization,
that scales develop by cycles of fifths.
www.seraph.it/blog_files/623ba37cafa0d91db51fa87296693fff-175.html
www.academia.edu/4163545/A_Theory_of_Evolving_Tonality_by_Joseph_Yasser
www.musanim.com/Yasser/
The chromatic scale we use today is divided by 2^(1/12) twelfth root of two
Instead of moving to the next higher: the 19 tone scale 2^(1/19) nineteenth root of two
I decided to go all the way down and back up the other end:
So 12 - 7 = 5 & 7 - 5 = 2 & 5 - 2 = 3
Now we enter to the other side:
2 - 3 = -1 & 3 - -1 = 4 & -1 - 4 = -5 & 4 - -5 = 9 & -5 - 9 = -14
ignoring the negatives we have 1 4 5 9 14
Just follow the cycles how each scale is weaved together, as shown above.
Each scale has its own division within the octave (frequency doubling),
therefore the 14 tones scale is 2^(1/14) fourteenth root of two
Quite dumb comment section, I have to say, for a video of one of B's most directly and exquisitely beautiful works.
A duras penas le quedaban mil días de vida , ahora es inmortal vivirá , siempre ...
Beethoven n aurait jamais vu la mer , mais y a t il mieux pour expliquer la mer que la variation5 de ce mouvement lent ou lla fin de de la 32° variation diabelli et toute la 33 ?
Can anybody confirm which marvellous Quartet is playing in this recording? I was hoping it is the Vegh Quartet.
JC
The performers were the Talich Quartet according to the description.
19:57 has Schönberg Verklärte Nacht vibes
I don't notice a rit at 27:06 ;(
Any professional cellists here? At 16:17 how close to the edge of the fingerboard on the A string are these notes?
dsm2240 Not very. The cellist could play a whole octave or more above that high F# without running out of fingerboard.
6:50
This is Purcell meets Mozart on the way to Shostakovich.)
Oh please elaborate.
@@deanyoung9313 -- No, d'Avriit said it all with concision. Now YOU must make time to listen to ALL the muzik!
I read this ahead of listening - thank you! ;-)
Sorry Shostakovitch isn't worthy to hold the great Beethoven's metronome
@@dahliatodorov9263 lol, I hope you'll enjoy Tour afterlife listening to Schostakovich for rest of ethernity, kinda 🥝🧁🦒✨
Is there anyone here that sees the number 127 everywhere?
I'd bet you all downloaded it to your devices.
is the 4th measure of the slow movement notated incorrectly, or are they playing it incorrectly?
+Yokozuna Kananoumi Not entirely sure about which notes they would play incorrectly? (or notated incorrectly)
+olla-vogala The viola goes quarter note Db- C (dotted half) in the fourth measure of the slow movement in the music which is played, not C's the whole measure as notated.
+Yokozuna Kananoumi I just checked with other scores, and it is correctly notated. I guess the violist must have played it incorrectly then.
He is clearly playing C the entire measure, I don't know what you are hearing
lol, are you kidding... the violist, sir.
Talich are one of the best, along with Alban Berg, Italian, Takacs, and I think Kodaly Quartets. An embarrassment of riches.
Solo piano transcription for contrast: czcams.com/play/PLD8EqKTPZanwVcs6j0HD1G-nsBOozN4ao.html
26:47
Does a better coda exist in music than the one in the final movement of this quartet?
oh boy, there are a lot of codas...
schumann said that this quartet and the opus 131, were the extrem limit of the art and the imaagination....
for example, mozart final movement of the two pianos concerto, beethoevn's owns, like the one in the last mov of the apasionata sonata, the first mov of kreutzer, the first of the 5th, the second of the 7th, the seventh of the 14th quartet, the 3rd of the pathetique, the sublime one in the final of the first mov of the big 9th.... etc! But here it doesn't finish! nooo! then we got chopin, coda of the first ballade, of the first scherzo, of the op 25 no 11, of the second ballade, the 4th one too, of nocturne op 48 no 1 and 2, of her concertos and so many pieces of him.
which part is the coda?
@@adriatorras8077 -- Does the Finale of Tannhäuser count? Or that of Cherevichki? If it's just Piano, then I submit the end of Rakh 2 (SECOND Movement) as performed by Weissenberg.
This recording is quite unbalanced: cello and alto are very much on the front, while the two violins sound like being on the backstage…
Probably a mishap with stereo.
I feel it has a symphonic dimension and so I tried this orchestration: czcams.com/video/QxtJK5VZiRQ/video.html
finale too slow
Maybe but Can this bé said because Beethoven wrote a tempo?
Second mvmt was farrr too fast
Agree. The Lindsays first recording reigns supreme in this mov IMO. czcams.com/video/P-H_3Z7NI1g/video.html
Quelle version prosaïque et sans envergure!
This is a clever and ingenius quartet (especially the scherzo) but the slow mvt. is interminable.
i wish you were right but, unfortunately, it ends.
Far too fast. The Lindsays first recording breathes a fierce intensity into this movement.
The slow movement is the heart of the piece and one of the best movements he ever wrote..im not a Beethovem fan but I could listen to it everyday.
The slow mvts. and variations of the late qu8artets, o0nlike the MIDDLE quartets, are mostly a colossal bore. In his entire output, most slow mvts. in the MAJOR put me to sleep. Unlike Brahms, Beethoven had to consciously kick himself in the ass to modulate when writing slow in the major.
@@rogernortman9219 Ew what dreadful taste.
he forgot the theme somewhere
You must love Jehovah your God with all your heart and with all your soul and with all your mind and with all your strength. You must love your neighbor as yourself. Jesus the Anointed is Lord! Repent and be baptized and believe the Evangelism.
Trump 2020
???
Yikes
In jail? Yes.
Absolutely! Woody Allen 1986 and Adolf Hitler 1936 would be similar idiotic responses to a string concert. Welcome in Neverland.
Sanders 2020!