Hi !
You might like Schubert String quartets, especially Rosamunde and Death and the maiden, also his two cello quintet is out of this world.
Also, you can't go wrong with schumann, try his piano quartet (and the world famous 3rd movement)
Since it seems you like violin répertoire, Lekeu and Faure op13 sonatas are really something.
:))
Tbh if you listen to op 132 and literally nothing else you’re doing pretty well out of music!
How about one of Brahms’s string quartets, or in fact any of his chamber music. Possibly some of Schumann’s chamber music, or Franck’s Piano Quintet?
Beethoven 131 and 130 are worth persevering with though.
Felix Mendelssohn’s quartet in A minor opus 13 was written a few months after Beethoven’s death. Mendelssohn quotes the Beethoven in it, and chose the same key - so it’s very clear what was on Mendelssohn’s mind. It’s an astonishing work in every respect, all the more incredible when you realise that he was only 18 when he wrote it.
https://youtu.be/jYZtkRyn-ec?si=a4rDPXPCYKGNBK9s
[Wikipedia](https://en.m.wikipedia.org/wiki/String_Quartet_No._2_(Mendelssohn))
Edit: fixing some phrasing and links
>Mendelssohn quotes the Beethoven in it
Ah, does he? The Mendelssohn is definitely massively influenced by the Beethoven at almost every turn, but I don't think I've spotted any literal quotes. Would be interested if you have some!
Had to go back and check as memory was a bit fuzzy - I would call it a veiled quote, or perhaps a reference, rather than a literal one. It’s at the same moment in each work; immediately leading into the finale there is an instrumental recit where Mendelssohn’s theme absolutely _must_ be a reference to the Beethoven… the moments are just too similar for it not to be. But I’ll leave that argument to the musicologists. I did hear these two quartets paired in a concert once and there was a knowing murmur in the audience upon hearing this passage. So I like to believe it’s there to be found.
There’s another connection - Mendelssohn bases a lot of the cyclic material (the cyclic nature alone of the quartet is drawn directly from Beethoven) on a song of his called “Frage”, which contains a three note motif on the words “Ist es wahr?” - this corresponds to the similar use of Beethoven’s three note “Muss es sein?” motif in Op 135 (Beethoven’s last quartet). It seems almost as if Mendelssohn wrote this whole quartet as a reaction to learning of Beethoven’s death or something (#speculation #iamnotamusicologist)
Thanks for making me dig back into this piece because holy shit is it great!
Edit: typos and fixed song name
>immediately leading into the finale there is an instrumental recit where Mendelssohn’s theme absolutely *must* be a reference to the Beethoven… the moments are just too similar for it not to be. But I’ll leave that argument to the musicologists. I did hear these two quartets paired in a concert once and there was a knowing murmur in the audience upon hearing this passage. So I like to believe it’s there to be found.
Yeah, actually, looking back at the main finale theme of each, the cello part is pretty much literally identical. It's still more a case of super-similar gestures than it is of literal thematic material, but there is that in the accompaniment!
>“Ist es wahr?” - this corresponds to the similar use of Beethoven’s three note “Muss es sein?” motif in Op 135
That's an interesting (and no doubt non-coincidental) comparison too! In this case Mendelssohn's treatment is freer and more original, because Beethoven doesn't bring his big question in until his finale, whereas Mendelssohn's brackets the entire piece. Also, Beethoven's question is a minor-mode moment in a major-mode work, while Mendelssohn's is the opposite.
Thanks to you too!
>Yeah, actually, looking back at the main finale theme of each, the cello part is pretty much literally identical. It's still more a case of super-similar gestures than it is of literal thematic material, but there is that in the accompaniment!
Just to be clear, because I think I did not explain it very well (I was thumb-typing on phone, always makes it harder):
No, the accompaniment is not what I'm talking about - although you're 100% correct about that. I am talking about what \_has\_ to be a deliberate reference; in the Mendelssohn, it starts at measure 13 in the "Presto" finale, and in the Beethoven, it's \_before\_ the finale, towards the end of the "Alla Marcia" movement, starting at measure 27. It's the same recit-style, same contour, exact same harmony, same notes (with a few libterties), and it serves the same function as a recit leading into the true finale.
This shit is so cool.
Ah I see it now! You're totally right and that's awesome! I think it was hard for me to notice because, in a weird sense, the stylistic similarity kind of masked the instances of total similarity, if that makes sense--all of the broader similarities makes the cases of literal quotation feel so absolutely right and fitting that they don't pop out the way quotations sometimes do. Great find!
The 15th Beethoven Quartet is my favourite, too.
Although you already mentioned Beethoven, I would suggest finding a suitable version of the quartet no. 16. My recommendation would be Amadeus Quartet. Absolutely wonderful music!
(Alban Berg Quartet for the 15th! Takacs for the 14th!)
There is nothing else quite like late Beethoven. But there is lots of stuff that is fantastic in its own way! I second the recommendation to dive into Brahms' chamber music - there isn't *too* much of it so you should be able to digest it all over a few weeks and find stuff you like. Going to see pieces in concert often helps too, if you live somewhere that doing so is possible!
After Op 132, the next best slow movements in all of Beethoven are Op 111, Op 109, and Op 59#2. And op 106 but that is just really dark whereas the others are not.
Also Haydn Op 76 no 5.
Schubert's 15th quartet is as ambitious and grand like Beethoven's 15th.. It's very challenging to listen since it has a certain restlessness and the duality between major and minor. It's like a Bruckner symphony condensed into string quartet.
The Danish String Quartet has a 5-disc series called "Prism", each of which pairs a piece by Bach, a late Beethoven Quartet, and a quartet by a later composer (Shostakovich, Schnittke, Bartok...). Prism IV pairs Beethoven 15 with Mendelssohn's 2nd quartet. You might find that of interest (and then check out the other discs in the series).
Hi ! You might like Schubert String quartets, especially Rosamunde and Death and the maiden, also his two cello quintet is out of this world. Also, you can't go wrong with schumann, try his piano quartet (and the world famous 3rd movement) Since it seems you like violin répertoire, Lekeu and Faure op13 sonatas are really something. :))
Also Schubert’s quartet in G (the 15th) and his string quintet
Yes! Absolutely the G major quartet!
Thanks!
Tbh if you listen to op 132 and literally nothing else you’re doing pretty well out of music! How about one of Brahms’s string quartets, or in fact any of his chamber music. Possibly some of Schumann’s chamber music, or Franck’s Piano Quintet? Beethoven 131 and 130 are worth persevering with though.
[удалено]
Thank you!
Felix Mendelssohn’s quartet in A minor opus 13 was written a few months after Beethoven’s death. Mendelssohn quotes the Beethoven in it, and chose the same key - so it’s very clear what was on Mendelssohn’s mind. It’s an astonishing work in every respect, all the more incredible when you realise that he was only 18 when he wrote it. https://youtu.be/jYZtkRyn-ec?si=a4rDPXPCYKGNBK9s [Wikipedia](https://en.m.wikipedia.org/wiki/String_Quartet_No._2_(Mendelssohn)) Edit: fixing some phrasing and links
>Mendelssohn quotes the Beethoven in it Ah, does he? The Mendelssohn is definitely massively influenced by the Beethoven at almost every turn, but I don't think I've spotted any literal quotes. Would be interested if you have some!
Had to go back and check as memory was a bit fuzzy - I would call it a veiled quote, or perhaps a reference, rather than a literal one. It’s at the same moment in each work; immediately leading into the finale there is an instrumental recit where Mendelssohn’s theme absolutely _must_ be a reference to the Beethoven… the moments are just too similar for it not to be. But I’ll leave that argument to the musicologists. I did hear these two quartets paired in a concert once and there was a knowing murmur in the audience upon hearing this passage. So I like to believe it’s there to be found. There’s another connection - Mendelssohn bases a lot of the cyclic material (the cyclic nature alone of the quartet is drawn directly from Beethoven) on a song of his called “Frage”, which contains a three note motif on the words “Ist es wahr?” - this corresponds to the similar use of Beethoven’s three note “Muss es sein?” motif in Op 135 (Beethoven’s last quartet). It seems almost as if Mendelssohn wrote this whole quartet as a reaction to learning of Beethoven’s death or something (#speculation #iamnotamusicologist) Thanks for making me dig back into this piece because holy shit is it great! Edit: typos and fixed song name
>immediately leading into the finale there is an instrumental recit where Mendelssohn’s theme absolutely *must* be a reference to the Beethoven… the moments are just too similar for it not to be. But I’ll leave that argument to the musicologists. I did hear these two quartets paired in a concert once and there was a knowing murmur in the audience upon hearing this passage. So I like to believe it’s there to be found. Yeah, actually, looking back at the main finale theme of each, the cello part is pretty much literally identical. It's still more a case of super-similar gestures than it is of literal thematic material, but there is that in the accompaniment! >“Ist es wahr?” - this corresponds to the similar use of Beethoven’s three note “Muss es sein?” motif in Op 135 That's an interesting (and no doubt non-coincidental) comparison too! In this case Mendelssohn's treatment is freer and more original, because Beethoven doesn't bring his big question in until his finale, whereas Mendelssohn's brackets the entire piece. Also, Beethoven's question is a minor-mode moment in a major-mode work, while Mendelssohn's is the opposite. Thanks to you too!
>Yeah, actually, looking back at the main finale theme of each, the cello part is pretty much literally identical. It's still more a case of super-similar gestures than it is of literal thematic material, but there is that in the accompaniment! Just to be clear, because I think I did not explain it very well (I was thumb-typing on phone, always makes it harder): No, the accompaniment is not what I'm talking about - although you're 100% correct about that. I am talking about what \_has\_ to be a deliberate reference; in the Mendelssohn, it starts at measure 13 in the "Presto" finale, and in the Beethoven, it's \_before\_ the finale, towards the end of the "Alla Marcia" movement, starting at measure 27. It's the same recit-style, same contour, exact same harmony, same notes (with a few libterties), and it serves the same function as a recit leading into the true finale. This shit is so cool.
Ah I see it now! You're totally right and that's awesome! I think it was hard for me to notice because, in a weird sense, the stylistic similarity kind of masked the instances of total similarity, if that makes sense--all of the broader similarities makes the cases of literal quotation feel so absolutely right and fitting that they don't pop out the way quotations sometimes do. Great find!
Interesting! Thank you
Beethoven sonata op 111
The 15th Beethoven Quartet is my favourite, too. Although you already mentioned Beethoven, I would suggest finding a suitable version of the quartet no. 16. My recommendation would be Amadeus Quartet. Absolutely wonderful music! (Alban Berg Quartet for the 15th! Takacs for the 14th!)
tchaikovsky unfinished quartet in b-flat!
Rachmaninoff's cello sonata might be worth a listen
There is nothing else quite like late Beethoven. But there is lots of stuff that is fantastic in its own way! I second the recommendation to dive into Brahms' chamber music - there isn't *too* much of it so you should be able to digest it all over a few weeks and find stuff you like. Going to see pieces in concert often helps too, if you live somewhere that doing so is possible!
After Op 132, the next best slow movements in all of Beethoven are Op 111, Op 109, and Op 59#2. And op 106 but that is just really dark whereas the others are not. Also Haydn Op 76 no 5.
Schubert's 15th quartet is as ambitious and grand like Beethoven's 15th.. It's very challenging to listen since it has a certain restlessness and the duality between major and minor. It's like a Bruckner symphony condensed into string quartet.
The Danish String Quartet has a 5-disc series called "Prism", each of which pairs a piece by Bach, a late Beethoven Quartet, and a quartet by a later composer (Shostakovich, Schnittke, Bartok...). Prism IV pairs Beethoven 15 with Mendelssohn's 2nd quartet. You might find that of interest (and then check out the other discs in the series).
Its music not drugs.