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When Ignaz Schuppanzigh returned to Vienna in April 1823, he remarked during his first visit to Beethoven: \"I'm going to visit him in the country, where we want to compose a new quartet together<\/em>.\" However, the decisive impetus for the composition of a whole series of string quartets may have been a letter from Prince Nikolai Galitzin, in which he immediately asked for \"un, deux ou trois nouveaux Quatuors<\/em>\" asked. However, the premiere of the first of this series on March 6, 1825 (E flat major op. 127) was already disappointing - and made it clear that Beethoven was looking far into the future with his late string quartets. A comment on the demands of the work, which Schuppanzigh entered in a conversation notebook of the deaf composer in the course of a debate, is noteworthy in this regard: \"There are no mechanical difficulties in it, only the originality makes it difficult, which one cannot grasp at first sight.<\/em>\"<\/p>\n Beethoven himself was well aware of the interpretative and intellectual demands. The plan for the first movement of the String Quartet in B flat major op. 130 can be found in a sketchbook: \"last quartet<\/em> for Galitzin with a serious and sluggish introduction<\/em>\". In the end, the Adagio was not as weighty, but it appears to be interlocked with the following Allegro in a contrasting manner. The Andante in third place and the famous Cavatina (5th movement) are both preceded by a concise Scherzo. The \"Grosse Fuge\", which was later replaced by a rondo finale and printed separately, originally formed the conclusion. In his biography of Beethoven (3rd edition, 1860), Anton Schindler described the conceptually self-contained original version of the composition as \"Monstrosity of all quartet music<\/em>\".<\/p>\n The fact that composers and audiences sometimes perceive new works differently is not just a phenomenon of the 20th century. Karl Holz, Secundarius in the Schuppanzigh Quartet, recalled the premiere of Opus 130 on March 21, 1826: \"The production <\/em>Performance was never in Beethoven's presence. The audience was enthusiastic, astonished or questioning, depending on the circumstances, but never denied it out of reverence. They understood - or did not understand. At the 1st production of the B<\/em> Major In the second quartet, when the fugue still formed the finale, the small intermediate movements in B minor and G major had to be repeated at the stormy request of the audience<\/em> .... The fugue passed without being understood. After the premiere Beethoven was waiting for me in the nearest inn. I told him that the two pieces would have to be repeated <\/em>recte: had to. Yes! he said angrily, this Tidbits<\/strong>! Why not the Joint<\/strong>?<\/em>\" Emphasis in the original<\/p>\n<\/div>\n\n
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Listen in!<\/h4>\n