And works representing the composer’s last statements in a genre are certainly often something extraordinary, representing the pinnacle of the artist’s wisdom and technical ability. that arises in the last quartet, I think I can explain its significance better than most people, as I possess the original manuscript with the words written in his (Beethoven’s) own hand, and when he sent them he wrote as follows; ‘You can translate the Muss es sein as showing that I have been unlucky, not only because it has been extremely difficult to write this when I had something much bigger in my mind, and because I have only written this in accordance with my promise to you, and because I am in dire need of money, which is hard to come by; it has also happened that I was anxious to send the work to you in parts, to facilitate engraving, and in all Mödlingen (he was living there then) I could not find a single copyist, and so have had to copy it out myself, and you can imagine what a business it has been!…’ I remember the letter very clearly, and without possibility of doubt; unfortunately it disappeared in 1826, when my house was burnt down. 16 in F major, Op. (J.R.) But even the composers’ last statement in a particular genre often inherits a mystical aura that wouldn’t necessarily have been so radiant or obvious had the composer lived on to compose more (they did not seldom leave this world young). He points out that, according to Karl Holz, Beethoven used to speak in an “imperial style” and speculates that: It is not far-fetched to imagine Beethoven asking and answering the question ‘Must it be?’ to himself and perhaps to others, expecting no explanation and giving none. We cannot miss the feeling that something basic is afoot, but we cannot define it in words or concepts. Only the final movement of the Quartet Op. Martin Winter), Beethoven - his spiritual development (Sullivan), The Beethoven Quartets (Kerman), Beethoven - the Music and the Life (Lockwood), Preface to the Henle score (Cadenbach). – Grave, ma non troppo tratto – Allegro (F minor – F major), This page was last edited on 28 August 2020, at 19:58. Beethoven's musical output has traditionally been divided into three periods, a classification that dates to the first years after the composer's death in 1827 and was formalised with the publication of Wilhelm von Lenz's influential work Beethoven et ses trois styles (Beethoven and his Three Styles). And the little coda marks the ending (and indeed the whole piece), twinkly-eyed and humorous as it might be, with honesty and kindness. “For Beethoven, as for the greatest literary artists, above all his beloved Shakespeare, comedy is not a lesser form than tragedy but is its true counterpart, the celebration of the human in all things.”. It must be!) 16 in F major, Op. 2-4. 135 quartet was premiered by the Schuppanzigh Quartet in March 1828, one year after Beethoven's death. Es muss sein!" And the trivial response evoked the serious question, in an altogether different tone of voice – a question that surged from the very depths of the Beethovenian soul: ‘Should it be? The String Quartet No. Es liegt hier natürlich die Frage nahe, „was“ genau denn sein „muss“. and the answer, “Es muss sein!” (It must be! But what an intermezzo! Es muss sein! "Muss es sein?" ‘Too late: as ever in this life!’ Beethoven re-read that “Es muss sein!” under a much more general interpretation. (It must be!). Santa Maria Philharmonic: Spirited Symphonies: Es Muss Sein – Saluting Beethoven’s 250th Birthday We launch a year-long celebration of Ludwig van Beethoven’s 250th birthday with his Symphony No. Beethoven ya no pensaba entonces en el monedero de Dembscher. As one of those deft demonstrations of analytic philosophy, the question is rephrased and shown never to have amounted to a true question in the first place. Caricature of Beethoven by J. P. Lyser (1825), International Music Score Library Project, String quartet arrangement of Op. The phrase is German and translates to, "It must be." On the sheet music, the composer wrote ambiguous words: Muss es sein? Sources: Beethoven’s String Quartets (Radcliffe), Beethoven’s Quartets (de Marliave), The Beethoven Quartet Companion (ed. Romain Rolland, Nobel-prize winner, biographer of Beethoven, and writer of Jean-Christophe (which is partly based on Beethoven’s life) said in a much quoted passage about the riddle: It is a common tendency of the German mind to wring a sententious and general signification out of the ordinary word in some daily use (I noted this in Jean-Christophe): so – your good German, when his servant brings him the mustard after dinner is over, and when he says – simply enough - ‘Too late,’ he catches himself and adds philosophically (I have heard him!) es muss sein!' War Beethoven eine tragische Figur? “‘Es muss sein:” it must be. The performance of the work takes around 22–25 minutes. It must be!”) provided an emotional answer to the Bartók-Shostakovich conflict. He was however prepared to reconsider if Dembscher paid the fee of fifty florins for the Schuppanzigh subscription concert retrospectively. 135 quartet was premiered by the Schuppanzigh Quartet in March 1828, one year after Beethoven's death. The op. Es muss sein! ), scherzo o spunto di canone, aprile 1826, pubblicato in fac-simile nella Zeitschrift für Deutschlands Musikvereine und Dilettanten. Théodore Frédéric Molt (1795-1856) Composer Time Period Comp. Beethoven had hier veel plezier over. The Allegro returns, dolce. We do not know, and are not meant to know in any specific sense, what is being asked and answered. Beethoven’s answer was in the form of a four-voice canon on the text: “Es muss sein! Yes, yes, yes, yes! 135 (1826). 16 in F-Dur, op. El cuarteto de cuerda n.º 16 en Fa mayor Opus 135 "La difícil decisión" de Beethoven es el último de su ciclo de 16 cuartetos de cuerda.Fue escrito en 1826 y estrenado en marzo de 1828.Ese fue el último trabajo importante del compositor. Overview. de Marliave (Beethoven’s Quartets, 1928) thinks along similar lines: [T]he mysterious preface was enough to intrigue the curiosity of listeners and critics, who see in it as a result a meaning that it does not possess. It is partnered by a falling and rising legato theme that bears a close thematic relationship to both the slow movement and the subsequent second theme, which is uncomplicated and good natured (Kerman calls it a “fairy march”). 135, by Ludwig van Beethoven was written in October 1826[1] and was the last major work he completed. Radcliffe (Beethoven’s String Quartets,1965) irreverently lists some previously suggested interpretations: Suggestions have included ‘Must I die?’, ‘Must I go to the trouble of writing another movement?’, ‘Must I pay my laundry bill?’, ‘Must I let you have more money?’ (to his cook). (Must it be? COSI' E'! Ese mismo motivo fue un año más tarde la base de la cuarta frase de su último cuarteto opus 135. ), but as a player, when actually playing them, I find it hard not to take them seriously, whatever the question might mean. But there is a faint possibility of sentimentalising a piece that the composer did not necessarily know to be his last. – Allegro ("Es muss sein!") 130, written as a replacement for the Große Fuge, was composed later. Dembscher is reported to have asked “Muss es sein?”. And, contemplating the very end, what better way to go than with a bang? is a summary of the great Beethovenian problem of destiny and submission. Under the opening chords, which are marked slow, Beethoven inserted the words ‘Muss es sein?’ (must it be?) Sein Werk ist ein Monument. Es muss sein! That may be the point. If we may judge from this quartet [….] As soon as the answer appear in the Allegro, the question is immediately put in a new light, but it can, for me, only in hindsight be regarded with a smile. COSI' DEV'ESSERE? Regardless of whether Beethoven intended Op. The two last movements especially together give a strong sense of coming to terms, and if the quartet is an intermezzo, it gives an impression of being one between this life and the next. Beethoven begann mit ersten Skizzen für das Quartett im Juli 1826; diese Arbeit wurde vom Suizidversuch seines Neffen Karl am 30. ). 135: profound swansong - or something else entirely? Ja, ja, ja, ja! [2] Under the introductory slow chords in the last movement Beethoven wrote in the manuscript "Muß es sein?" Beethoven auf dem Rhein: "Es muss sein – Fast eine Liebesgeschichte" Beethoven auf dem Rhein : "Es muss sein – Fast eine Liebesgeschichte" 05.03.20, 09:58 Uhr 130 after it. This is marvellously researched, however I believe every authority cited misses an obvious point about “Muß es sein?” and “Es muß sein!” Beethoven felt challenged by the critical reaction to Immanuel Kant’s Third Critique (the “Critique of Judgment,” 1790) to create an order of music that, for the first time, would be able to stand with lyric and epic poetry as a means to express the most exalted human emotions, … El cuarteto le debe su nombre al título del último movimiento. 135 in September 1827, wrote in a letter in 1859: Regarding the enigmatic phrase Muss es sein? Maurice Schlesinger (1798-1871) 5 (WoO 195). There is no real conflict depicted in this last movement; the portentous question meets with a jovial, almost exultant answer, and the ending is one of perfect confidence. This is all very well, of course: we musicians often tend to produce better and more heartfelt results when associating a work with a dramatic narrative from the creator’s life. It must be!). Il Quartetto per archi n. 16 in Fa maggiore op. The apparent contrast between the work and the circumstances under which the composer wrote it, brings another of his quartets to mind: the Op. We'll talk about the importance of Beethoven in a second. timidly acknowledges the piteous roar in the low instruments … To this comedy the Allegro offers no serious answer. 1889 vom Verein Beethoven-Haus gegründet, verbinden sich hier die Person von Ludwig van Beethoven mit der Pflege seiner Musik und der Erforschung von Leben und Werk des Komponisten. Some commentators have seen it as a pendant to Op. Must it be? Period: Classical: Piece Style Classical: Instrumentation 2 voices (Nos. Whatever its significance, the piece runs the gamut of emotions: fury, […], delightful article with so many views on the controversial beautiful piece , thanks for it 🙂, Some reflections on an enigmatic question, Zorá Quartet review: A program that tells a story | Oregon ArtsWatch, Lewes Chamber Music Festival: The London Haydn Quartet | 13 June, 2015 | Lewes Classical. The String Quartet No. 11. 135. The ensemble’s founder Gidon Kremer directs op.131 from the violin, while Mario Brunello conducts op.135 and adds two contemporary pieces, one by Léo Ferré, ‘the revolutionary, anarchic, inspired singer-songwriter and great lover of Beethoven’: Muss es sein? Tickets range from $45 for preferred seating, which holds seats in the front rows, to $15 for students. And there is a further possibility that Beethoven, realising perhaps that one theme was a melodic inversion of the other, added the words later. 74 “Harp” quartet, which Beethoven composed under terrible suffering during the siege of Vienna. and the by blustering chords in the upper instruments (the Spanish Captain Spavento?). But Beethoven had found his solution to the problem, and he treats the old question here with lightness, even the humour, of one to whom the issue is settled and familiar.