74 “Harp” quartet, which Beethoven composed under terrible suffering during the siege of Vienna. Beethoven begann mit ersten Skizzen für das Quartett im Juli 1826; diese Arbeit wurde vom Suizidversuch seines Neffen Karl am 30. He encourages us to take Beethoven’s question seriously, and highlights the fact that Beethoven struggled with its exact wording: he initially hesitated between “der gezwungene Entschluss” (the forced decision) and “der harte Entschluss” (the hard-won decision) before settling for the one we know. 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!) Must it be? Kundera tells you about the origins of the phrase as a motif in one of Beethoven's songs; you can read all about it in Part 5, Chapter 8. Op. Ludwig van Beethovens späte Streichquartette: das Quartett in F-dur op. Kerman (The Beethoven Quartets, 1966) suggests the comedy, which is so apparent in the Allegro, already starts in the “Muss es sein?” introduction, imagining characters from commedia dell’arte: To my ear the image is operatic enough: a recitative for Pantalone, punctuated first by dubious stirrings (Mélusine perhaps?) timidly acknowledges the piteous roar in the low instruments … To this comedy the Allegro offers no serious answer. Under the opening chords, which are marked slow, Beethoven inserted the words ‘Muss es sein?’ (must it be?) In a terrific and sudden change of mood the violins set off with the “Es muss sein!” motif (an inversion of the “Muss es sein?”), now Allegro in the parallel major key. The argument shares the defect of all such attempts to set a ‘programme’ to absolute music. Ed è qui che Beethoven, quasi lamentandosi come un bambino che non vuole finire di mangiare le verdure, gli chiese “Muß es sein?” e l’editore, quasi rimproverandolo, rispose “Es muß sein!”. Period: Classical: Piece Style Classical: Instrumentation 2 voices (Nos. 135 was, however, not finished in Mödlingen but in Gneixendorff, so the contents of that Beethoven letter might be not entirely exact. Ihm sind Dinge passiert, die man tragisch nennen muss… COSI' DEV'ESSERE? Caricature of Beethoven by J. P. Lyser (1825), International Music Score Library Project, String quartet arrangement of Op. And, contemplating the very end, what better way to go than with a bang? ). Es muss sein!" Heraus mit dem Beutel!” (It must be! This time the “Es muss sein!” motif appears after a gradual loss of energy, piano, at a point where the music seems uncertain where to go, before regaining confidence. He asks: What is the meaning of the inscription? Tickets range from $45 for preferred seating, which holds seats in the front rows, to $15 for students. 130 in order to perform the quartet at one of his chamber music soirées. 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. * In fact Op. 135 fu composto da Ludwig van Beethoven nel 1826 e costituisce il suo ultimo importante lavoro. 135 quartet was premiered by the Schuppanzigh Quartet in March 1828, one year after Beethoven's death. The Allegro returns, dolce. 130, scritto per sostituire la Grande fuga, fu creato dal compositore prima della sua morte.. La prima esecuzione fu data dallo Schuppanzigh Quartet nel marzo 1828. Beethoven was the eldest surviving child of Johann and Maria Magdalena van Beethoven. The apparent contrast between the work and the circumstances under which the composer wrote it, brings another of his quartets to mind: the Op. ), but as a player, when actually playing them, I find it hard not to take them seriously, whatever the question might mean. Beethovens Musik hat sich zwar entwickelt, aber es war immer Beethoven. 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). Théodore Frédéric Molt (1795-1856) Composer Time Period Comp. Overview. The two Graves in the last movement, with their “Muss es sein?” motif, do perhaps give a certain theatrical impression, and maybe they also seem to induce the feeling of being slightly too serious for their own good (this is obviously in no way a criticism of Beethoven! Ja, ja, ja, ja! Only the final movement of the Quartet Op. Must it be?’ Must what be? […], 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, aspirations and even philosophical questions; the result is his late period. 130, written as a replacement for the Große Fuge, was composed later. August 1826 zu datieren. it would appear that at the end of his life the inner Beethoven who expressed himself in music, was content. to which he responds, with the faster main theme of the movement, "Es muß sein!" (It must be!). Johann Martin Usteri (1763-1827) Language German Dedication 1 (WoO 186). The coda is a version of the second theme, now pizzicato and pianissimo, before the “Es muss sein!” motif reappears, first hesitantly, and then in a triumphant fortissimo. 135, in F major. Ludwig van Beethoven 5 (WoO 195). 135 to be his final statement or not, and in spite of any possible textual explanations of the “Muss es sein?” riddle, I find it hard to see its over-all effect as anything other than profound. By Ludwig van Beethoven. and the answer, “Es muss sein!” (It must be! 16 in F major, Op. And the little coda marks the ending (and indeed the whole piece), twinkly-eyed and humorous as it might be, with honesty and kindness. Musical Style and Innovations. (Must it be? Es muss sein! 1 by Beethoven, https://en.wikipedia.org/w/index.php?title=String_Quartet_No._16_(Beethoven)&oldid=975486648, Articles needing additional references from August 2019, All articles needing additional references, Articles with International Music Score Library Project links, Wikipedia articles with MusicBrainz work identifiers, Creative Commons Attribution-ShareAlike License, "Der schwer gefaßte Entschluß". It must be! es muss sein!' Some commentators have seen it as a pendant to Op. But because Dembscher had failed to attend the première of the work, Beethoven refused. The question raised here is, indeed, seen in the light of the profound peace which dominates the slow movement of this quartet. Es muss sein! "Muss es sein?" On the sheet music, the composer wrote ambiguous words: Muss es sein? 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). 135, by Ludwig van Beethoven was written in October 1826 and was the last major work he completed. 135: profound swansong - or something else entirely? 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. 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. The Allegro has by some commentators being characterised as either “ironic” or “forced”, but in my eyes the completely honestly good-natured second theme certainly excludes the former idea, even if the recurring “Es muss sein!” statements have a certain touch of jauntiness. 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 Maurice Schlesinger (1798-1871) 5 (WoO 195). In any case, it presents something of a conundrum for quartet players. Sources: Beethoven’s String Quartets (Radcliffe), Beethoven’s Quartets (de Marliave), The Beethoven Quartet Companion (ed. The “Muss es sein?” theme is initially presented in a Grave by viola and cello, and repeated in increasing intensity before the short introduction quietens down and is suspended on the dominant in a pianissimo. We cannot miss the feeling that something basic is afoot, but we cannot define it in words or concepts. Regardless of whether Beethoven intended Op. However, Lockwood (Beethoven – the Music and the Life, 2003) offers more extensive thoughts on the subject. The whole movement is headed "Der schwer gefaßte Entschluß" (The Difficult Decision). 130, written as a replacement for the Große Fuge, was composed later. Dembscher is reported to have asked “Muss es sein?”. El cuarteto le debe su nombre al título del último movimiento. Die Niederschrift ist durch einen Eintrag in einem Konversationsheft auf um den 1. The phrase is German and translates to, "It must be." - all that you desire; all that commands your thought and weighs upon it; ‘the difficult decision,’ the order of Destiny, the acceptance of life…. But all of the above is of course only words. 135, by Ludwig van Beethoven was written in October 1826[1] and was the last major work he completed. 48 Beethoven gave a name to his quartet's final movement, Der schwer fasste Entschluss. For the third movement, Beethoven used variation techniques; he also did this in the second movement of his Quartet op. Hij heeft direct een canon op dat motief geschreven; en het motief komt in 1826 ook in de conversatieschriften voor, onder andere bij een meningsverschil met zijn huishoudster over het huishoudgeld. BEETHOVEN STRASSE MUSS ES SEIN ES MUSS SEIN! Take out your wallet!). The last works of composers often take on a special meaning in the eyes of posterity: think only of Mozart’s Requiem or Bach’s Art of the Fugue. In a famous anecdote told by Beethoven’s friend Karl Holz (who also was a member of the Schuppanzigh Quartet), a musical amateur named Ignaz Dembscher is reported to have asked Beethoven for the parts for Op. 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, … Beethoven ya no pensaba entonces en el monedero de Dembscher. Martin Winter), Beethoven - his spiritual development (Sullivan), The Beethoven Quartets (Kerman), Beethoven - the Music and the Life (Lockwood), Preface to the Henle score (Cadenbach). 131, the pair of which would be a representation of the dualism of tragedy on one hand and comedy and acceptance on the other. (J.R.) Moritz Schlesinger, who published Op. So the question invariably arises: Must what be? 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. to which he responds, with the faster main theme of the movement, "Es muß sein!" Sullivan (Beethoven – his spiritual development, 1927) suggests that the motto. We do not know, and are not meant to know in any specific sense, what is being asked and answered. Only the final movement of the Quartet Op. 135 in September 1827, wrote in a letter in 1859: Regarding the enigmatic phrase Muss es sein? And says about the finishing bars of the coda: It is though Beethoven is laughing at himself and at his audience for taking this little motif so seriously, and making such a mystery out of his whimsical Muss es sein? The answer is a resounding “It must be!”, […] last major work, the String Quartet in F Major, bears Beethoven’s mysterious riddle: Muss es sein? 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. Am 28. 14, No. Grave, ma non troppo tratto ("Muss es sein?") 2-4. Under the introductory slow chords in the last movement Beethoven wrote in the manuscript "Muß es sein?" 11. 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. We'll talk about the importance of Beethoven in a second. Es muss sein. A statement of resignation to mortality, some infer: Beethoven did indeed die about six months later. It must be!) Dopo questo, solo l'ultimo movimento del Quartetto op. War Beethoven eine tragische Figur? We are romantics, and we need to be. 8 as a centerpiece of the concert which also offers works by Mozart and Bartók. Ese mismo motivo fue un año más tarde la base de la cuarta frase de su último cuarteto opus 135. is a summary of the great Beethovenian problem of destiny and submission. / Es muss sein!“ Diesen Gedanken notierte Beethoven eigenhändig auf einem seiner allerletzten großen Werke: dem Streichquartett Nr. As in the Ninth Symphony’s cello-bass recitatives and at various points in other late works, Beethoven is driving instrumental music to the limits of speech, making instruments ‘almost speak’ …. It has at a first glance little of the all-enveloping-statement-of-life-and-death character of Schubert’s last chamber work, his String Quintet, but is in some ways more like an intermezzo, unpretentious and fairly humble in scale. 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. 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. COSI' E'! Beethoven had hier veel plezier over. No, it's optimistic or fatalistic. September 1826 reiste Beethoven zu seinem Bruder Johann auf dessen Gut, dem Schloss Wasserhof in Gneixendorf, und vollendete dort das Quartett. The op. Davon unterrichtet, antwortete Beethoven seinerseits lachend mit dem Kanon "Es muss sein". Find Ludwig van Beethoven bio, music, credits, awards, & streaming links on AllMusic - Among the greatest of composers, Beethoven took… Op.135: III. What follows is a summary of the propositions of some noted commentators, and finally some thoughts of my own. 135 (1826). And there is a further possibility that Beethoven, realising perhaps that one theme was a melodic inversion of the other, added the words later. Beethoven wrote the question “Muss es sein?” (Must it be?) So what about Beethoven’s Op. and the by blustering chords in the upper instruments (the Spanish Captain Spavento?). It was Beethoven’s grandfather who had first settled in Bonn when he became a singer in the choir of the archbishop-elector of Cologne; he eventually rose to become Kappellmeister. 130 after it. A sketch from 1826 for a quintet in C major survives. Im Oktober 1826 verarbeitete Beethoven das Motto "Es muss sein" im Schlusssatz seines letzten Streichquartetts op. 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”). ), scherzo o spunto di canone, aprile 1826, pubblicato in fac-simile nella Zeitschrift für Deutschlands Musikvereine und Dilettanten. 135 quartet was premiered by the Schuppanzigh Quartet in March 1828, one year after Beethoven's death. Many thanks to Ivan Moseley. Op. and as the quicker main theme arrives, ‘Es muss sein!’ (It must be! Sein Werk ist ein Monument. He was however prepared to reconsider if Dembscher paid the fee of fifty florins for the Schuppanzigh subscription concert retrospectively. WoO 196 “Es muss sein!” (Deve essere! 16 in F-Dur, op. The String Quartet No. Es muss sein is an important concept in Unbearable Lightness, so you should make sure you're comfortable with it.

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