Written by Doosook Kim

Program Notes

Beethoven composed this quartet in 1825, restructuring it after a serious illness that left him incapacitated.  Upon recovering, he added a fifth movement of "thanksgiving," making it the emotional core of the work.  The piece premiered in the fall of the same year.

First movement: Assai sostenuto

The first movement begins with a slow introduction based on a recurring motif found in Beethoven's late quartets and the Große Fuge.  The movement employs a modified sonata form, cycling through themes three times, each in a different key, unlike the typical two cycles in traditional sonata form.

Second movement: Allegro ma non tanto

This movement features a minuet with a trio, deviating from Beethoven's usual scherzo.  The trio's melodies over sustained A-tonic tones evoke a nostalgic, rustic atmosphere, reminiscent of bagpipe or hurdy-gurdy music.

Third movement: Molto adagio

The third movement is the longest of the quartet, lasting 15-20 minutes.  Titled "Holy song of thanksgiving of a convalescent to the Deity, in the Lydian mode," it reflects Beethoven's gratitude after recovering from a life-threatening illness.  The music blends counterpoint, hymn-like unison harmonies, and bursts of virtuosic brilliance.

Forth movement: Alla marcia, assai vivace - Piu allegro - Presto

A brief march in A major connects directly to the finale, marked by a recitative-like passage in the first violin.  This two-minute movement serves as a transition to the final rondo.

Fifth movement: Allegro appassionato

The finale is in sonata-rondo form ( A B A C A B A ).  Beethoven originally sketched this theme for the conclusion of his Ninth Symphony, but later abandoned it in favor of the famous choral finale.