Beethoven String Quartet No. 13 in B-flat Major, Op. 130 (Grosse Fuge) - American String Quartet
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- Опубліковано 18 жов 2024
- Beethoven String Quartet No. 13 in B-flat Major, Op. 130 (Grosse Fuge) performed by the American String Quartet (live). Filmed live in The Jerome L. Greene Performance Space in New York for WQXR's Beethoven String Quartet Marathon on November 18, 2012.
Incredible how this piece is up in space somewhere floating in the vast of nothingness.
And providing that "vast"ness a good deal of fullness :-).
You made the same journey from voyager to here. I needed to check out what we were sending into space.
Incredible! I read exactly that in a book today
In the Grosse Fuge, Beethoven was at the same time going backwards (To JS Bach) and forward to the XXth century. He was opening the doors to a new music, unpredictable, violent, chaotic, and back to the baroque. Beethoven was a giant bridge. Thanks for uploading.The Grosse Fuge was a Grosse Brücke.
I. Adagio, ma non troppo - Allegro
II. Presto - 9:49
III. Andante con moto, ma non troppo. Poco scherzoso - 11:56
IV. Alla danza tedesca. Allegro assai - 18:40
V. Cavatina. Adagio molto espressivo 21:55
VI .Große Fuge - 28:47
Thank you so much!!!
Growing up on rock music (with a smattering of jazz) I know next to nothing about classical music and thought it was boring. But this is phenomenal! The dynamic range, musicality, and musicianship is incredible.
Great performance of a truly extraordinary piece of music. Just imagine how it sounded to audiences when it was new. So much turmoil and illness and stress in Beethoven's life and yet he kept composing masterpiece after masterpiece, or perhaps it was all the illness and other dramas that inspired him so. Rest in peace Ludwig van Beethoven, you continue to inspire and bring joy to millions of people around the world.
I'm not sure of this but I think the only listeners then were B's financial benefactors and appreciators.
It was hated when it was new.
Maladie et drames l "inspirant" ?
Je suis d accord avec l idée mais pas le mot.
Ce que maladie peut apporter,c est la volonté de donner le meilleur de soi,ne pas lui laisser le dernier mot.
What a mind trip this piece is, although the opus 131 in C minor is reportedly Beethoven’s favorite I keep going back to this one the most though
And to think that the Grosse Fugue was his original finale of this work.It was too overwhelming for the critics in his day. Titanic!
With the Grosse Fugue, Beethoven's genius open the door to a different way to write and play music, more free and intense. Bravo for this giant!!!👏👏
The late Beethoven quartets are not only the greatest chamber music written, but the greatest of all music EVER written. My own favorite is the 14th string quartet, but this one is also soooo moving. I was privileged to be present when the Australian Quartet played Beethoven's String Quartets 12 - 15 back-to-back. Truly extraordinary.
Remove the word "late". His early and middle Quartets are just as good as late.
Considering that Beethoven was pressured into switching out the fugue after its initial performance because 'people could not handle it'. I take not only believe this is the more authentic version of the the intent of Beethoven. But it gives me the strength to not care what others think of my musical works: if I mean to do something, I mean to do it. Beethoven was a true musical genius. But holy God, the fugue is intense.
One of the IMENSE LEGACiES OF MANKIND! ETERNAL! Wonderful recording and interpretation. QWXR mudicians and recordings are incredible ! Thanks!!!!
I feel like I'm traveling far away while listening to this music.
Really modern yet earnest interpretation of this masterpiece without superfluous romanticism.
Extraordinary performance specially in such dry acoustic which makes it more impressive.
100 years ahead of its time!
This quartet reaches obviously its equilibrium with the Great fugue -- certainly the most advanced concept of Beethoven.
The motive at 26:00 awww man I wish that lasted longer. Ends too soon :( Incredible piece though! Only Beethoven would make want more lol
This motive seems to pose a supplication, an imploration towards something or someone abstract, an intimate plea for something that Beethoven expected or desired to receive. We would never know. It's unsuspected, sublime!
Try some Tchaikovsky also. His violin concerto, 1st movement is sublime.
those few seconds of pure secrets and mist. only a creative and free mind as Beethoven can make such as beautiful abyss
the grosse fugue is absolutely incredible.
All the virtues comprehended; wonderful performance.
A BBC classical music scholar said he sometimes prefers one finale of this and sometimes the other (after all if you like vanilla doesn't mean sometimes you might like chocolate). But he also states that he prefers the Grosse Fuge to be performed as the finale to this quartet and not as a stand-alone piece. Both finales can be read as equally valid if much different responses to the poignant Cavatina that immediately precedes it.
One could liken Beethoven's replacement movement for the Grosse Fuge of Op. 130 to a new ending for a Broadway show that was written after the tryout failed with the public (of his day). To play the "rewrite" is no better or worse than playing the Grosse Fuge. While Beethoven's letters calls those who didn't like the Fuge in the quartet as "Cattle!" "Asses!" this didn't prevent him from writing something else sublime. And while thematic clues in the preceding movements make the Fuge is an part of the whole work, the more tonally conventional movement has just as much integrity.
But what's great about hearing the quartet with the original Fuge is that it is clear he is hearing music that no one else heard up to that point. There is the smallest inkling, I think, in the middle of the last movement of Mozart's last symphony (a descending 20 bars or so) of this "new" chaotic music. In Mozart's instance, "normality" returns as the sun bursts through again as if that small section was puzzling dark cloud passing by. Nonetheless it is pointing to Mahler and others. Beethoven is pointing to Schoenberg and beyond.
Indeed. And perhaps music hasn't caught up with the Grosse Fuge yet. I consider it to be the most apocalyptic/ transformational music of all time.
🎯
I would say public opinion hasn't caught up to it yet. I would say music has certainly met the challenge of the Grosse Fugue many times over since it was written.
The Grosse Fugue is also pointing to Stravinsky in my opinion, with its wild and natural shapes, as well as a very unique kind of contrapuntic independance between the different voices.
The only statement of yours I would take issue with is at the end of the first paragraph where you state that Beethoven's substitute finale has "just as much integrity" as the Große Fuge. This is because the very "meaning" of the Fuge is its attempt to "integrate" by any means necessary (sometimes resorting to music as violent as Stravinsky's Le Sacre du Printemps) the hopelessly disparate and seemingly un-integrateable movements which have preceded it. As you say, the connection between the Fuge and the preceding movements is accomplished by "thematic clues" which make possible this miraculous integration, one of the most profound events in all music. So, to say that the substitute finale has as much integrity as the Fuge is not right. That's the one thing the substitute finale doesn't do, and that's "integrate."
Echt moderne und zugleich ernsthafte Interpretation dieses Meisterwerkes ohne überflüssige Romantik. Das gefällt mir!
On s'en un esprit libre (20 min-22.33min), d'une beauté fine à l'oreille et un plaisir pour ces musiciens ! C'est prodigieux ! Merci Ludwig van Beethoven !
Heaven..... Earth & Eternity ..... All here
The finale of the quartet is omitted in favor of the fugue, which is certainly NOT a bore!
Bello y suave sonido. ¡Bravo!
I find this to be a completely different style than all of Beethoven's other works. Wonderful.
Yes, indeed. This belongs to what is considered his late period. Where he was pretty much completely deaf and the level of complexity and chromaticism is genius! Beautiful.
I know. The late period is the most astray Beethoven ever went. The music is so much like the Romantic Time Period (which makes sense)
I love the Late Period
this is partly right - all 5 of the late quartets are in this style which is best seen as an adjunct to his main 'late style'.
+chrish12345 This late style to which you refer also carried over into his cryptic Bagatelles, Op. 126.Other works produced at that time, often designated as "late," such as the Missa Solemnis, Consecration Overture, and Ninth Symphony, can rather be regarded as an extension of his middle period to its maximum capability.Interestingly, this type of writing, very remote in its aspect, may be picked up in Brahms' Second String Sextet, Op. 36.
In the original Beethoven script/score, this Quartet contained as a 6th movement a
"grosse fugue". It's the fugue that is touched here. But at the request of his Artaria editor, because he
considered this fugue as very incomprehensible to the public, Beethoven agreed
to compose a new movement, an "Finale, allegro". The performers choose the movement they prefer.
(The original fugue would be the "Grosse FugueOp. 133")
I'd prefer to hear the fugue seperately and here the other Finale.
2:46 chestnuts roasting on an open fire...
I see you Beethoven
Putz! Nota 10 pra esse pessoal. Excelente.
W O N D E R F U L !!!
Bravo!
❤
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: Overtura - Allegro - Fuga
Finale: Allegro
Maybe I'm alone in thinking that the Grosse Fugue is better played as a stand-alone piece. It really is too much to append it to this already fairly heavy quartet. I would ask you, what do you then do with the ''finale allegro''? You can't play that as a separate piece, but it's too beautiful to put it aside and forget about it. It belongs in this quartet IMHO.
You gotta play the fugue amazingly, and then if you get enough applause you play the finale as an encore.
Play them both, first the Fuge, and then the finale allegro. The Lasalle Quartet recorded it that way and it works great!
I agree. I prefer this with the allegro as the finale, which doesn't overwhelm the cavatina. The Grosse Fuge is better on its own.
J'ai parfois la tendance (dans l'esprit fougueux de Beethoven surement ) à être familiarisé avec des sonorités et mouvements baroque ?! (lent-rapide et toujours aussi magistral )
God they're good
Thanks for uploading this great performance. It might be better though just to stick with the one static wide shot of such performances. Those random (or, anyway, ill-motivated) dissolves between cameras are really hard to watch. Better yet, have each camera record the piece in full and let a professional editor go to work on it, later ;-)
Many people have noticed even stronger "Swing," "Boogie-Woogie," or "Jazz" syncopations in the 2nd movement of Beethoven's last Piano Sonata #32. Academics dismiss such speculation. But I wonder ... ?
Nice performance. The video looks like it was shot by a multi-cameras-robot.
Great performance of a great piece, but I do find the poster of a giant brooding Beethoven head distracting . . .
Je ne saurais pas argumenter , mais j intuitionne que la répétition de l exposition de l allegro initial est la plus essentielle au caractère du mouvemen de toute l oeuvre beethoveniene.
Je ne leur reproche de ne pas l avoir faite,mais il faut que les auditeurs sachent qu elle figure sur la partition.
que belleza 4 movimiento min 18
I'm pretty certain if Beethoven wanted the fugue at the end he would have indicated so.
He did. The finale to op130 was originally the fugue, only changed after initial negative reactions and pressure from his publisher. The new finale was the last complete piece of music he wrote and he never saw it performed.
I can only repeat what Samuel Wiklund said. Beethoven only obliged a request of his publisher, who thought the Fugue was too difficult to grasp for audiences and players and asked him to write a new finale.
That was purely done out of marketability and not out of artistic necessity. On the other hand Beethoven had many snide remarks to people who found the Fugue difficult.
Was it a black out at 6 minutes ?
its fridayagain its sidemen sunday
The Grosse Fuge is actually Opus 133. Opus 130 is the string quartet in B flat, from which Beethoven developed this piece.
You are rigth. The grosse fugue was the original finale of the op.130, then published alone as op.133
Is it me or they are singing sharp?
Couldn't the American String Quartet tacked on the alternative allegro at the end (which is after all in the published version of this quartet with Beethoven's agreement)? It's hardly throwaway music and is the last complete movement the master wrote.
+William Perry I like the idea of playing what Beethoven originally intended, however I love the replacement movement as well, something about it being the last thing he written is just amazing
+Maestro Prodigy Considering that Beethoven was probably very ill at the time, it's startling he wrote such a happy, vibrant piece as his last music. It's certainly no trifle written merely to please his listeners but displays all the mastery of his Late Period.
I have several times hear the replacement movement played as an encore after a performance of the original using the fugue. In fact, I have heard Beethoven cycles which conclude with the replacement as a stand alone - his last musical utterance to us all.
I sometimes listen to this quartet twice, once with the original Grand Fugue and then the published version with the so-called "lighter" finale in its stead. The evidence suggests that Beethoven himself was OK with both versions.
I'm not sure in this particular performance series, in which all of Beethoven's quartets were performed, if Beethoven's last musical utterance was even performed. They could tack it on here or even after Op. 135 to reflect a true chronology of composition.
the original purpose of Beethoven was the great fugue and it is only under strong pressure of his editors that he was forced to compose a lighter finale. Usually he resisted to these pressures. Parhaps he was too ill to have the strength to refuse.
the greatedt musi very competent quartet
Is it just me or is does the first violin seem to be struggling a bit? I’m a violinist myself and his playing sounds tense and a bit out of tune in a lot of places
8:01--ouch!
+FiddlerSteve Yeah, that was like biting on aluminum foil.
+FiddlerSteve was more like 8:03 for me, but yeah....
+Robert Allen That's the sort of thing that would probably go mostly unnoticed in live performance but here it's recorded for posterity! Oh well... The other 44 minutes of this performance were mostly great!
This was the last piece Beethoven ever wrote...
the last piece Beethoven wrote was actually the other Finale for this quartet which replaced the Große Fuge.
I just..... I can't get into this performance. The 4th movement was WAY WAY WAY too fast. And the adagio parts in the first movement as well.
It says ADAGIO on the paper. I'm. Disappointed honestly.
Agreed.
+Heavymetalthunda3 I thought the performance sounded unbalanced. There were alot of intonation issues and most of the counter-melodies sounded sloppy and out of tune. The group that plays no. 12 at this event gives me goosebumps every time, so highly recommend that.
Why does every performer play so fast ? I want to bask; OK, I'm a basker...
Because Beethoven wanted it that way.
Quite unusual for Beethoven.
26:00 Good part
really annoying that the lady is just straight up SHARP
Glad I'm not hearing things. Really bad one around 21 minutes.
+tyler romine yeah, was 21:02 for me...
im sorry the grosse fugue was replaced by another proper finale, this should only be played as a stand-alone work
+Wolfie Mozart Beethoven was prevailed upon to make the change, but as we well know, he could be impossibly stubborn in such matters. It would appear that in this case he saw the wisdom of substituting for the Grosse Fuge a more conventional finale that would wind things down much better.And in my honest opinion, it does work much better, aside from the fact that this is how he finally left it.I do not feel that we do him any artistic favor by second guessing him in this manner.I would say the same about the change he made in the Scherzo of his Fifth Symphony, where he eliminated the double reprise which he used in his Fourth, Sixth, and Seventh Symphonies and other works, yet conductors with false ideas of "authenticity" often take this double reprise in this work.But I for myself will continue to decry the practice of performing this work with the Grosse Fuge as the finale.
+alger3041 Those purists or originalists who want this quartet to end with the Grosse Fuge and just throw the wonderful allegro finale (his last completed movement) away are doing a disservice. The compromise of tacking on the allegro after the 130 with the G. Fugue seems a bit off. It's just possible that Beethoven told his publisher, "You know, you're right."
+William Perry I absolutely agree. In the end, a movement that rounds off this quartet perfectly in my opinion would be orphaned. No, I would say that those groups performing this Op. 130 Quartet (including the Juilliard Quartet) concluding with the Grosse Fuge I would respectfully suggest are misguided in their thinking.
Beethoven never wanted to change the finale, there Is data supporting that. I personally like to hear both the grosse fugue and the allegro.
who else came here because of the avengers in suttgart
Kamera!!!...
Largo non moto
Sniffing
Are you good? No!
Only a deaf man could have written this and felt content... 😫
Ma che è sta roba?
FUCK ABBREVIATION OH MY GOD
Grosse Fuge begins @28:47.