Bold and Beautiful – October 6, 2018
Ludwig van Beethoven
(Born in Bonn in 1770; died in Vienna in 1827)
String Quartet No. 1 in F major, Op. 18, No. 1
1. Allegro con brio
2. Adagio affettuoso ed appassionato
3. Scherzo: Allegro molto
4. Allegro
In 1792, when he was 22 years old, Beethoven came to Vienna to study composition with Germany’s greatest living composer, Franz Josef Haydn (Mozart had just died the year before in 1791). After roughly a year and a half, Beethoven grew impatient with the affable and conservative teaching style of Haydn, and by and large the two men parted ways. But this was not a setback for Beethoven. By this time, he had plenty of friends and opportunities for frolic (contrary to the image we now have of him, Beethoven was quite the socialite before his hearing loss made him more reclusive). And musically, he was already becoming known as one of the greatest piano virtuosos of the day and he was making excellent headway as a composer. However, to become known as a composer in his own right, rather than simply as a pianist-composer as so many other virtuosos were, Beethoven had to tackle genres beyond piano works. He did so in earnest: during the period of the 1790s, in addition to his first three piano concertos, he wrote more than a dozen important chamber works, including several violin and cello sonatas, five string trios, his important Piano Quintet (Op. 16) and his great Septet (Op. 20).
In 1798 and 1799, Haydn published his six seminal string quartets, often called the “London Quartets.” These works were so extraordinary they almost immediately set a new and lasting standard for the string quartet genre. Beethoven, his ego prodded, responded quickly: he initially composed what has become known as his First String Quartet in 1798. However, sensing that these were risky waters for a young composer to wade into, he did not publish immediately. Instead, he sent the draft to a friend, Karl Amenda, asking him to keep it under wraps. A while later, he told Amenda “… only now have I learned to write quartets.” Finally, with dramatic revisions, Beethoven published the First Quartet in 1801.
From the Quartet’s very first notes there is no doubt that Beethoven was intending to speak in big gestures. This work does not contain the kinds of themes we will hear in his later, ground-breaking symphonies, of course. Instead, it follows the impeccable models of both Haydn and Mozart (to be taken seriously as a composer at this time, Beethoven almost had to do this). In fact, the first movement’s theme is clearly a tip of the hat to Haydn’s Quartet, Op. 50, No. 1. But the urgency and drama that feed this first movement clearly reveal what Beethoven was made of, and they give us a peek at the greatness of his later works. Even more amazing, perhaps, is how mature this Quartet sounds: although this was his first attempt at this genre, the result is so natural and idiomatic it could just as easily be taken as his thirtieth quartet.
The biggest change from the first draft is the second movement, and this is the most progressive step for Beethoven. Here, he re-marked the tempo from simply “Adagio” to “Adagio affettuoso ed appassionato” (“slowly, affectionate and passionate”). This has the effect of expressing grief personally rather than in the abstract, which is a very Romantic perspective. Notice, too, the many silent pauses and tempo changes, all creating a deep, affecting pathos. The third movement’s scherzo is frisky, playful, and at times downright fiery. The finale is a fast-moving current of joyfulness.
Beethoven truly did “learn how to write a quartet” in this piece: listen for the motives passing through the four strings with fleet abandon. And above all, listen to a Beethoven who, at the beginning of a titanic career, shows himself to be full of vigor and good cheer, and taking the music world head on.
Alexander Borodin
(Born in St. Petersburg in 1833; died in St. Petersburg in 1887)
String Quartet No. 2 in D Major, Op.
1. Allegro moderato
2. Scherzo. Allegro
3. Notturno (Nocturne): Andante
4. Finale: Andante — Vivace
Borodin has written some of Western music’s most beloved pieces, including The Polovtsian Dances (from his opera Prince Igor), In the Steppes of Central Asia, Symphony No. 2, and his String Quartet No. 2. He was also one of the cherished members of the famous “Russian Five,” a group of composers that included Rimsky-Korsakov, Liadov, Cui, and Mussorgsky. The group’s intent was to create a purely Russian classical music inspired by that country’s land and people, part of a nationalistic trend that was sweeping 19th Century Europe.
Despite Borodin’s success as a musician, and his importance to Russian music, it is astonishing to remember that for him music was but an avocation. His full-time profession was as a research chemist, physician and professor. In fact, much of his late career was spent discovering a chemical reaction of variants of formaldehyde, a process so scientifically important that until fairly recently it was still referred to as the “Borodin reaction”. He typically could only find time to compose when he was too ill to teach or go to the lab, or otherwise able to take time away from his scientific work.
Such was the case with his masterful String Quartet No. 2. Borodin wrote this work in 1881, during a vacation to mark the 20th anniversary of his proposal to his wife, the pianist Ekaterina Protopopova. This quartet differs from Borodin’s other compositions in two important ways. First, he wrote it very quickly; usually, he worked on his compositions in snippets over long periods of time (often when he took to his sick bed). Second, the quartet contains no obvious underlying narrative; like the other members of the “Russian Five,” he normally built his compositions around nationalistic stories.
But there is good reason to think that Borodin might have indeed infused his String Quartet No. 2 with a meaning of sorts: he not only wrote it on the 20th anniversary of his proposal to his beloved Ekaterina, he also dedicated it to her. And structurally, much of the work consists of a charming conversational dialogue between the cello (Borodin was an amateur cellist) and the violin (a likely instrument to represent Ekaterina). In any case, whether this wonderful Quartet is music for music’s sake or a love letter from Borodin to his wife, it delights us to this day.
Each movement abounds with riches, but it is the third movement, Nocturne, that may indeed be Borodin’s finest tune, and his finest chamber music accomplishment. Structurally, it is a simple song, where cello and violin share and embellish a terrifically beautiful, and singable, theme between themselves. In between, the second violin and viola pulse like a heartbeat and occasionally echo the lovers’ refrain. Ethereal and tender, the ending floats into the stratosphere. So beloved is this movement that its main theme (along with other Borodin tunes) was used in the 1950s musical “Kismet,” becoming the popular hit song “And This is My Beloved.” In a wonderful quirk of fate, in 1954 near the height of the Cold War, the by-then-long-dead Borodin won a posthumous Tony Award for his contributions to Kismet. Had he still been alive, he probably would have missed the gala and stayed working in the lab.