Pub Date : 2021-07-15DOI: 10.1093/OSO/9780190059200.003.0003
N. November
Chapter 2 takes in two popular contemporary reception documents—a film and a TV drama—which reinforce themes found in the reception of the work from Wagner onwards: lack, loss, and tragedy. The typical conflation of biography and work in the reception of late Beethoven is nicely exemplified by the 2012 film A Late Quartet. Sequences from the film help one to understand this work as a portrayal of struggle brought on by lack—of health, of power, of ability to express passion and love, and of time. The later reception, especially the popular later reception, contrasts sharply with the early reception of Op. 131, which underscores fantasy, fecundity, and plenitude.
第二章选取了两部流行的当代接受文献——一部电影和一部电视剧——它们强化了从瓦格纳开始接受作品时所发现的主题:缺乏、失落和悲剧。2012年上映的电影《晚期四重奏》(A late Quartet)很好地体现了人们对贝多芬晚期生平和作品的典型混淆。电影中的片段有助于人们理解这部作品，它描绘了由于缺乏健康、权力、表达激情和爱的能力以及时间而带来的挣扎。后来的接受，尤其是后来流行的接受，与Op. 131的早期接受形成鲜明对比，后者强调幻想、多产和丰富。
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Pub Date : 2021-07-15DOI: 10.1093/OSO/9780190059200.003.0002
N. November
One sees a decisive shift in Beethoven reception in the late nineteenth century. The late quartets, in particular, were starting to be considered as a special group of “very late” masterpieces, cut off from contextual and social moorings and expressive only of Beethoven’s innermost thoughts and feelings. In the case of Op. 131, the meanings of the work became yet more restricted in later reception: this penultimate work is often considered to be Beethoven’s melancholy swansong. A rhetoric of “lack” emerges in the discourse about the C-sharp minor quartet from Wagner onwards, including seminal twentieth-century analytical accounts. At the same time, scholars seem to grapple with the wealth—perhaps overabundance—of material in the quartet by repeatedly showing how it is unified, in twentieth-century analytical terms. Only recently has this view started to change, so that scholars re-hear the work in ways that celebrate its plenitude.
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Pub Date : 2021-07-15DOI: 10.1093/oso/9780190059200.003.0004
N. November
Chapters 3 and 4 focus on Beethoven’s two statements that the work shows “a new kind of part writing” and “not less fantasy” than his previous works. The chapters explore, respectively, what each of these statements might have meant in terms of Beethoven’s compositional perspective, and in terms of performance and reception in his day. His comment on a “new kind of part-writing” is especially noteworthy, given that Op. 131 was his penultimate quartet. In light of the considerable experimentation in the middle-period quartets, one might have thought that by the 1820s Beethoven would have exhausted most possibilities for innovating in string quartet part-writing. To further explore what Beethoven meant, I go back to sketches and notes relating to the middle-period quartets, in particular his new idea of composing and hearing all four parts at once, which he noted down in a sketchbook around the time he was composing Op. 74. How does this new idea about the compositional process relate to the late quartets and Op. 131 in particular? I consider evidence from the sketches for Op. 131 as well as the early reception of the finished product. Adolph Bernhard Marx, for example, draws attention to the late quartets’ “Bachian counterpoint.” I focus in particular on the variations of the fourth movement. My analyses draw attention to the unique nature of all four voices, and the sense in which each part is crafted with careful attention to the art and science of listening.
第3章和第4章的重点是贝多芬的两个陈述，即该作品显示了“一种新的部分写作”和“不少于他以前的作品”。这两章分别探讨了从贝多芬的作曲角度，以及从他那个时代的演奏和接受角度来看，这些陈述可能意味着什么。考虑到Op. 131是他的倒数第二首四重奏，他对“一种新的部分写作”的评论尤其值得注意。考虑到中期四重奏的大量实验，人们可能会认为，到19世纪20年代，贝多芬在弦乐四重奏部分写作方面已经用尽了所有创新的可能性。为了进一步探索贝多芬的意思，我回到了与中期四重奏有关的草图和笔记，特别是他在创作Op. 74时在速写本上记录下来的同时创作和听所有四个部分的新想法。这种关于作曲过程的新观点与后期四重奏，尤其是Op. 131有什么关系?我考虑了Op. 131的草图以及成品的早期接收的证据。例如，阿道夫·伯恩哈德·马克思(Adolph Bernhard Marx)将人们的注意力引向了晚期四重奏的“巴哈对位”。我特别关注第四乐章的变奏。我的分析让人们注意到这四种声音的独特性，以及每一部分都是在倾听的艺术和科学中精心制作的。
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Pub Date : 2021-07-15DOI: 10.1093/oso/9780190059200.003.0007
N. November
OP. 131 HAS BEEN read as a tragic, deafness-induced chaos or as an innovative triumph taking the potential of music closer to the sublime and perhaps the divine. Was it an over-ambitious jumbled patchwork? Or was it a deliberate composition of various Stücke to achieve a whole wherein exultation pays tribute to the depth that melancholia adds to the human condition? Might the ...
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Pub Date : 2021-07-15DOI: 10.1093/OSO/9780190059200.003.0005
N. November
Audiences at Iganz Schuppanzigh’s 1820s quartet concerts in Vienna would have expected a string quartet to be a weighty, four-movement work with an emphasis on a sonata form, thematische Arbeit (motivic working) between parts, and an overall tonal plan based on one or two primary key areas. Beethoven no doubt had such connoisseur listeners in mind with this work, but was pushing far beyond that traditional idea of the string quartet. Op. 131 is full of all sorts of different kinds of writing. The chapter explores the quartet in terms of fantasia, a word found frequently in connection with Op. 131, starting with a discussion of the free fantasia as a work exhibiting apparently chaotic musings over a highly logical ground plan. As Carl Philipp Emmanuel Bach pointed out in his influential discussion of the subject, there is method in the seeming madness of the free fantasia, especially as regards harmonic links. The chapter considers the entire work as a fantasia, exploring the clever linkage of seemingly disparate ideas within and between movements. The fantasia form might seem the opposite of the formalized string quartet genre as it was starting to be understood by Beethoven’s time, but in one important respect it was not. The free fantasia was a work for the connoisseur: as Carl Friedrich Michaelis noted in his article on music and humor of 1807, the free fantasia, in particular, reveals to the connoisseur listener the soul (or inventive repository) of the composer.
19世纪20年代，伊甘兹·舒潘茨(Iganz Schuppanzigh)在维也纳举行的四重奏音乐会的听众们会期望弦乐四重奏是一首沉重的四乐章作品，强调奏鸣曲形式，各部分之间的主题艺术(动机工作)，以及基于一两个主要关键区域的整体音调计划。毫无疑问，贝多芬在这部作品中有这样的鉴赏家听众，但他远远超出了弦乐四重奏的传统观念。Op. 131充满了各种不同的写作。这一章从幻想曲的角度探讨了四重奏，幻想曲这个词经常与Op. 131联系在一起，首先讨论了自由幻想曲作为一个作品，在一个高度逻辑的地面计划上表现出明显的混乱沉思。正如卡尔·菲利普·埃马纽埃尔·巴赫(Carl Philipp Emmanuel Bach)在他颇具影响力的关于这一主题的讨论中指出的那样，自由幻想曲看似疯狂，尤其是在和声连接方面，是有方法的。本章将整部作品视为幻想曲，探索乐章内部和乐章之间看似不同的思想之间的巧妙联系。幻想曲的形式似乎与贝多芬时代开始理解的正式弦乐四重奏类型相反，但在一个重要方面它不是。自由幻想曲是鉴赏家的作品:正如卡尔·弗里德里希·米切里斯(Carl Friedrich Michaelis)在1807年关于音乐和幽默的文章中指出的那样，自由幻想曲，特别是向鉴赏家听众揭示了作曲家的灵魂(或创造性的宝库)。
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Pub Date : 2021-07-15DOI: 10.1093/oso/9780190059200.003.0006
N. November
This chapter begins with a discussion of Mark Andre’s ensemble work riss 2 (2014) as an alternative window on the modern-day reception of Op. 131—the two works can similarly disrupt our ontological understanding of musical works in terms of structure, sound transformations, and especially sense of time. I then step back to consider the larger context in which Op. 131 was originally heard, setting it within an emerging ideology of “serious listening” in Vienna in the early nineteenth century. I consider the early nineteenth century as an era in which the seeds for silent listening were sown, by key agents of change, who tried to adjust audience behavior at string quartet concerts—influential figures such as Schuppanzigh, Beethoven, and reviewers for the Wiener Theater-Zeitung and Viennese Allgemeine musikalische Zeitung in the 1810s and ’20s. Beethoven’s C-sharp minor quartet can be understood as a work that took part in this move to instill silent and serious listening. However, the climate in Vienna was not was not such that Beethoven (and Schuppanzigh) could enjoy much success with this particular listening project. The “romantic listener” does not represent a nineteenth-century norm, and was certainly not the norm in Beethoven’s Vienna. But the compelling ideology of listening and associated habits that started to develop there—especially reverent silence—continue to influence powerfully our concert hall behaviors today.
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