161
A powerful crescendo then leads
to two sets of three chords, each
followed by a dramatic silence
heralding the sixth movement. In
this short adagio, led by the viola,
the four-note motif from the first
movement is transformed by
denying the use of its fourth and
most expressive note. An optimistic
upward motion is always repelled by
a sad, descending answer.
In the seventh movement, the
previous ideas come to a satisfying
musical conclusion. As the music
progresses, fragments of the first
movement begin to surface until
the four-note motif reappears. Many
dark and menacing sounds followROMANTIC 1810 –1920
before one of Beethoven’s most
Romantic themes appears, free in
its pacing and encompassing
expressive leaps. After the theme
reaches its culmination, a “ghost”
appears, recalling the melody first
heard at the very start of the work.
After this, the music begins to
reflect the drained physical state of
the players after continuous playing
for almost 40 minutes. The music
dissipates as the tempo gets slower,
yet the expected soft ending to the
piece does not appear. In one last,
defiant gesture, the energies of the
players are revived for a last push
to end on three affirmative chords.Lasting influence
Beethoven’s late quartets—which
start and end with four movement
structures (Op. 127 and Op. 135)
but experiment with five, six, and
seven movements (Op. 130–132)—To play a wrong note is
insignificant. To play without
passion is inexcusable.
Ludwig van BeethovenA statue of Beethoven was erected,
in 1880, on the Beethovenplatz in
Vienna, Austria. The figures sitting
below the composer are allegorical
representations of his symphonies.were his final gift to the world
before his death in 1827. With
them, Beethoven transformed
the string quartet—influencing
Schumann, Mendelssohn, Brahms,
Bartók, Schoenberg, Shostakovich,
and Tippett—and became an
imposing mentor and inspiration
to all those who came after. ■US_156-161_Beethoven_Op_131.indd 161 26/03/18 1:00 PM