The 13 major works of the late period are:
5. The last five string quartets (nos. 12 - 16) (1824-1826)
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In Beethoven's "Late Period" the musical forms are more complex, the
ideas more wide-ranging, the textures more polyphonic (e.g. fugues), and
the treatment of the themes and motifs even more sophisticated than before.
By 1815, Beethoven was (almost?) completely deaf.
Early in this period, Beethoven studied the counterpoint of Bach and
Handel. The period is notable for its large number of fugues inspired by
those studies.
Some of his late period work was derided in his lifetime but became
popular after his death (especially some the late string quartets). Their
status grew during the early 20th century and all of these works are now
seen as either major or minor masterpieces.
Beethoven's "Late Period" is usually said to begin in 1816 with Piano
Sonata No. 28. But some start it in 1814 with Piano Sonata No. 27 (Op. 106)
or with the two 1815 Op. 2 Cello Sonatas (No. 4 and No. 5).
Here we use the more popular late period dates, 1816- 1826:
Piano Sonata No. 28 in A major, Op. 101 (1816)
Emil Gilels 20:50 (Play)
An die ferne Geliebte, ( To the distant Beloved), Op. 98.
Piano Sonata No. 31 in Ab major, Op. 110 (1821)
Maurizio Pollini, piano 19:45 (Play)
Like the previous sonata, the final movement is the focal point. After a slow, poignant, intro-
Piano Sonata No. 32 in C minor, Op. 111 (1821-22)
Evgeny Kissin, piano 29:26 (Play)
Another of Beethoven's very greatest piano sonatas. It has just two movements; an ominous,
up-tempo opening in Beethoven's favorite tragic key C minor, and a set of five variations on a slow
theme in C major. Variation number three has some characteristics of a boogie-woogie, about a
The Diabelli Variations rival J.S. Bach's Goldberg variations as one of the greatest sets of
keyboard variations ever written. In 1819, music publisher Anton Diabelli approached 50 Austrian
composers to write a variation on a waltz he had written with the intention of publishing them as a
collection for charity. Franz Schubert, Carl Czerny, Johann Hummel, the Archduke Rudolph, and
8 year old Franz Liszt all contributed a variation. Beethoven went to extremes, writing 33 variations
that were not completed until 1823.
One critic wrote: "The variety of treatment is almost without parallel, so that the work represents
a book of advanced studies in Beethoven's manner of expression and his use of the keyboard, as well
as a monumental work in its own right". Composer Arnold Schoenberg wrote that the Variations "in
respect of its harmony, deserves to be called the most adventurous work by Beethoven".
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Symphony No. 9 in D minor, Op. 125 ("Choral") 1824
West-Eastern Divan Orchestra at PROMS, Daniel Barenboim 1:28:00 (Play)
The Ninth Symphony is often considered the greatest symphony ever written. At 70+ minutes,
it is 20 minutes longer than Beethoven's Third Symphony. Its final movement, a choral rendition
of Friedrich Schiller's poem Ode to Joy, was the first use of vocals in a symphony. It was co-opted
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Beethoven's career ended with five "late" string quartets written in 1825 & 1826.
Große Fuge (Grosse Fugue) in B flat major, Op. 133 (1825) (original ending)
Alban Berg Quartett 16:00 (Play)
String Quartet No. 13 is the most famous of Beethoven's 16 string quartets. It is unusual for having
six movements. The fifth movement, the cavatina, is a beautiful piece and is the only Beethoven work
on the 'Golden Disk' on the two Voyager spacecrafts besides the first movement of his Fifth Symphony.
Originally String Quartet No. 13 had a long (about 16 minutes) finale that was dark and harsh,
consisting of two complex fugues. It was highly disliked at the quartet's premier, and Beethoven's
publisher convinced him to write a lighter, shorter finale for publication. University condemned at
the time, one reviewer wrote that the original ending was "incomprehensible, like Chinese" and a
"confusion of Babel."
Beethoven published the original ending as the Grosse Fuge (Great Fugue), Op. 133. Widely
considered today to be one of Beethoven's greatest works, the Grosse Fuge is often played as
status grew during the early 20th century and all of these works are now
seen as either major or minor masterpieces.
Beethoven's "Late Period" is usually said to begin in 1816 with Piano
Sonata No. 28. But some start it in 1814 with Piano Sonata No. 27 (Op. 106)
or with the two 1815 Op. 2 Cello Sonatas (No. 4 and No. 5).
Here we use the more popular late period dates, 1816- 1826:
Piano Sonata No. 28 in A major, Op. 101 (1816)
Emil Gilels 20:50 (Play)
An die ferne Geliebte, ( To the distant Beloved), Op. 98.
Dietrich Fischer-Dieskau, tenor, Gerald Moore, piano (14:05) (Play)
This is the first Liederkreis (song cycle) in classical music. It begins the tradition of the great
This is the first Liederkreis (song cycle) in classical music. It begins the tradition of the great
German romantic Liederkreis composers Franz Schubert, Robert Schumann, Johannes Brahms,
Gustave Mahler, and others.
Piano Sonata No. 29 in B-flat major, Op. 106 "Hammerklavier" (1818)
Vladimir Ashkenazy 47:00 (Play)
The Hammerklavier sonata is considered one of Beethoven's greatest, if not the greatest, piano
sonatas. It was one of the most technically challenging piano works ever composed. It is especially
known for its famous opening theme, the very long (15+ minute) slow, 3rd movement, and the very
complex fugue in the final movement.
The Hammerklavier was not played in public until Franz Liszt premiered it in Paris in 1836, 18
Piano Sonata No. 29 in B-flat major, Op. 106 "Hammerklavier" (1818)
Vladimir Ashkenazy 47:00 (Play)
The Hammerklavier sonata is considered one of Beethoven's greatest, if not the greatest, piano
sonatas. It was one of the most technically challenging piano works ever composed. It is especially
known for its famous opening theme, the very long (15+ minute) slow, 3rd movement, and the very
complex fugue in the final movement.
The Hammerklavier was not played in public until Franz Liszt premiered it in Paris in 1836, 18
years after its composition.
Piano Sonata No. 30 in E major, Op. 109 (1820)
Andras Schiff, piano 19:40 (Play)
Piano Sonata No. 30 in E major, Op. 109 (1820)
Andras Schiff, piano 19:40 (Play)
Sonata No. 30 is less than half the length of the huge Sonata No. 29 that proceeded it. The first
two movements combined take less than seven minutes to play (the short, stormy second movement
is notable for its lyricism). The sonata's focal point is the third, 13 minute, movement; a set of six
variations on a gentle theme. Each of the variations differ greatly in their means of expression.
Piano Sonata No. 31 in Ab major, Op. 110 (1821)
Maurizio Pollini, piano 19:45 (Play)
Like the previous sonata, the final movement is the focal point. After a slow, poignant, intro-
duction, a fugue appears, gentler and less complex than the fugue that closes the Hammerklavier sonata.
The movement closes with a section Beethoven marked as 'exhausted' and has been said to represent
"earthly pain" following the "consolation and inner strength" of the fugue.
Piano Sonata No. 32 in C minor, Op. 111 (1821-22)
Evgeny Kissin, piano 29:26 (Play)
Another of Beethoven's very greatest piano sonatas. It has just two movements; an ominous,
up-tempo opening in Beethoven's favorite tragic key C minor, and a set of five variations on a slow
theme in C major. Variation number three has some characteristics of a boogie-woogie, about a
century before the boogie-woogie was invented.
33 Variations on a waltz by Anton Diabelli, Op. 120 (1819-1823)
Alfred Brendel, piano 51:30 (Play)
33 Variations on a waltz by Anton Diabelli, Op. 120 (1819-1823)
Alfred Brendel, piano 51:30 (Play)
The Diabelli Variations rival J.S. Bach's Goldberg variations as one of the greatest sets of
keyboard variations ever written. In 1819, music publisher Anton Diabelli approached 50 Austrian
composers to write a variation on a waltz he had written with the intention of publishing them as a
collection for charity. Franz Schubert, Carl Czerny, Johann Hummel, the Archduke Rudolph, and
8 year old Franz Liszt all contributed a variation. Beethoven went to extremes, writing 33 variations
that were not completed until 1823.
One critic wrote: "The variety of treatment is almost without parallel, so that the work represents
a book of advanced studies in Beethoven's manner of expression and his use of the keyboard, as well
as a monumental work in its own right". Composer Arnold Schoenberg wrote that the Variations "in
respect of its harmony, deserves to be called the most adventurous work by Beethoven".
_____________________________________________________________________________________________________________________________________________
Symphony No. 9 in D minor, Op. 125 ("Choral") 1824
West-Eastern Divan Orchestra at PROMS, Daniel Barenboim 1:28:00 (Play)
The Ninth Symphony is often considered the greatest symphony ever written. At 70+ minutes,
it is 20 minutes longer than Beethoven's Third Symphony. Its final movement, a choral rendition
of Friedrich Schiller's poem Ode to Joy, was the first use of vocals in a symphony. It was co-opted
by Hitler as a theme for Nazi Germany, but has since been used as an anthem of freedom and the
brotherhood of man. Leonard Bernstein conducted a memorable performance of the Ninth Symphony
at the dismantling of the Berlin Wall in 1989.
Missa Solemnis in D major, Op. 123. (1819 - 1823)
London Symphony Orchestra & Chorus, Sir Colin Davis, cond. 1:39:00 (Play)
Batagelles, Op. 126 (1825) Nikita Mndoyants (18:30) (Play)
A bagatelle (lit. "a trifle") is a very short piano work. Beethoven had been writing bagatelles
brotherhood of man. Leonard Bernstein conducted a memorable performance of the Ninth Symphony
at the dismantling of the Berlin Wall in 1989.
Missa Solemnis in D major, Op. 123. (1819 - 1823)
London Symphony Orchestra & Chorus, Sir Colin Davis, cond. 1:39:00 (Play)
Beethoven's second mass, the Missa Solemnis (solemn mass), is considered one of the greatest
masses ever written. Beethoven researched masses back to the Middle Ages in preparation, using
plainchant mass melodies and Renaissance harmonies.
masses ever written. Beethoven researched masses back to the Middle Ages in preparation, using
plainchant mass melodies and Renaissance harmonies.
A bagatelle (lit. "a trifle") is a very short piano work. Beethoven had been writing bagatelles
throughout his career for amateur pianists to play at home (the very popular "Für Elise" is his most
famous bagatelle). Op. 126 contains 6 bagatelles. Beethoven thought these were the best
bagatelles he had ever written.
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Beethoven's career ended with five "late" string quartets written in 1825 & 1826.
Although several had a controversial reputation in Beethoven's day, today they are
considered among the greatest string quartets ever written and solidify Beethoven's
reputation as the greatest quartet composer in music history.
Note: The numbering of the five late quartets do not match their composition order.
Note: The numbering of the five late quartets do not match their composition order.
They were composed in the following order in 1825-26: No. 12, No. 15, No. 13,
No. 14, No. 15, and No. 16.
String Quartet No. 12 in E♭ major, Op 127 (1825)
Alban Berg Quartett 39:00 (Play)
Now deeply admired for its lyricism, String Quartet No. 12 was not popular in its first
String Quartet No. 12 in E♭ major, Op 127 (1825)
Alban Berg Quartett 39:00 (Play)
Now deeply admired for its lyricism, String Quartet No. 12 was not popular in its first
performances, causing Beethoven to fume against the critics and the public who disliked it.
A critic in the “Allgemeine Musikalische Zeitung” described it as an “incomprehensible,
incoherent, vague, over-extended series of fantasias and chaos, from which flashes of genius
emerged from time to time like lightning bolts from a black thunder cloud.”
String Quartet No. 13 in B♭ major, Op. 130 (1825)
Alban Berg Quartett (with replacement ending) 38:48 (Play)
String Quartet No. 13 in B♭ major, Op. 130 (1825)
Alban Berg Quartett (with replacement ending) 38:48 (Play)
Große Fuge (Grosse Fugue) in B flat major, Op. 133 (1825) (original ending)
Alban Berg Quartett 16:00 (Play)
String Quartet No. 13 is the most famous of Beethoven's 16 string quartets. It is unusual for having
six movements. The fifth movement, the cavatina, is a beautiful piece and is the only Beethoven work
on the 'Golden Disk' on the two Voyager spacecrafts besides the first movement of his Fifth Symphony.
Originally String Quartet No. 13 had a long (about 16 minutes) finale that was dark and harsh,
consisting of two complex fugues. It was highly disliked at the quartet's premier, and Beethoven's
publisher convinced him to write a lighter, shorter finale for publication. University condemned at
the time, one reviewer wrote that the original ending was "incomprehensible, like Chinese" and a
"confusion of Babel."
Beethoven published the original ending as the Grosse Fuge (Great Fugue), Op. 133. Widely
considered today to be one of Beethoven's greatest works, the Grosse Fuge is often played as
the finale of String Quartet No. 13.
String Quartet No. 14 in C♯ minor, Op. 131 (1826)
Alban Berg Quartett 36:32 (Play)
This work of seven continuous movements was Beethoven's favorite of the late string quartets.
String Quartet No. 14 in C♯ minor, Op. 131 (1826)
Alban Berg Quartett 36:32 (Play)
This work of seven continuous movements was Beethoven's favorite of the late string quartets.
It has been written about extensively for nearly two centuries.
Robert Schumann said that this quartet and Op. 127 had a "grandeur ... which no words can
Robert Schumann said that this quartet and Op. 127 had a "grandeur ... which no words can
express. They seem to me to stand ... on the extreme boundary of all that has hitherto been attained
by human art and imagination." Franz Schubert said "After this, what is left for us to write?" and
had friends play it as he laid on his deathbed in 1828.
String Quartet No. 15 in A minor, Op. 132 (1825)
Alban Berg Quartett 43:48 (Play)
String Quartet No. 15 has five movements, the last three are designated "A convalescent's Holy
String Quartet No. 15 in A minor, Op. 132 (1825)
Alban Berg Quartett 43:48 (Play)
String Quartet No. 15 has five movements, the last three are designated "A convalescent's Holy
Song of Thanksgiving, to the Deity, in the Lydian mode" (the Lydian mode was one of the old scales
from the Renaissance).
String Quartet No. 16 in F major, Op. 135 (1826)
Alban Berg Quartett 27:00 (Play)
Beethoven's last complete work, it was finished in October of 1826 (only the replacement final
String Quartet No. 16 in F major, Op. 135 (1826)
Alban Berg Quartett 27:00 (Play)
Beethoven's last complete work, it was finished in October of 1826 (only the replacement final
movement for String Quartet No. 13 was composed after this). This quartet is shorter, less dense and
less complex than the other late quartets. It returns to the standard design of four movements. Despite
its conventionality, it shows Beethoven's imagination and inventiveness was still present at the
end of his career.
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