But like all good things, the end is in sight, and since they have decided to hang up their bows, collectively speaking, in June, their final performance in Central PA takes place on Thursday, March 17th, 2016, at Lebanon Valley College's Lutz Hall at 7:30. The concert, by the way, is free.
It is also a tribute to another ending, a memorial to their friend and mentor, Ellen Hughes, who died this past June – but more on that in a subsequent post.
The Cypress Quartet finished recording their “Complete Beethoven” Cycle – you can find out more about that amazing project at their website, here – and they bring two of them to this program: one early, one middle (yah, maybe they'll do the Grosse Fuge for an encore...?). They open with Op. 18 No. 1 and end with “The Third Razumovsky,” Op. 59 No. 3. In between they'll offer some of Alexander Glazunov's “Novelettes.”
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(This post is about the final work on the program, one of the most popular of Beethoven's quartets and certainly one of the greatest, though it's pretty hard to narrow the whole bunch down to “one greatest.” Originally, this post was to accompany the Market Square Concerts presentation of the Enso Quartet which, alas, was postponed due to the January Blizzard that decided to tour the midstate that same weekend and left us with no less than 30” of snow. That concert has been postponed till April 6th at 7:30 at Market Square Church with hopefully better weather, but will bring with a change of program, not including Op. 59/3. But more on that later and elsewhere.)
So the question still remains, “What IS a Razumovsky, anyway?”
For those of you not familiar with Beethoven's Op. 59/3. here's a performance of the complete quartet (in one clip) with the Orion Quartet recorded at the Santa Fe Chamber Music Festival in 2008.
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|Beethoven in 1806|
We don't know exactly when this request was made or if, as Beethoven wrote to his publisher in July of 1806, he'd already finished one of the three by then, but Jan Swafford, in his recent (and excellent) biography, Beethoven: Anguish and Triumph, mentions specifically he began work on them the day after his brother Carl's wedding to Johanna Reiss, a prophetic event considering how much time would be spent while he was writing the Late Quartets dealing with legal issues over the guardianship of his nephew following his brother's death.
If that's true, it means Beethoven composed all three of the Op. 59 quartets between May 26th and September 6th, 1806, when he again wrote to his publishers and said they were done.
While three months might seem sufficient time to write three string quartets, remember Beethoven was also composing the 4th Symphony, the 4th Piano Concerto and the Violin Concerto during that same summer vacation, not to mention revisions on his opera Leonore (not yet called Fidelio) complete with two new overtures for it (the 2nd & 3rd Leonore Overtures) and other works that same year! Any composer would be delighted to have produced such masterpieces during a lifetime – but in one year?
Part of the “premise” for the quartets was Razumovsky's request to include in each of them “a Russian theme.” Some say Beethoven suggested this as a tribute to his patron but it doesn't seem typical of Beethoven to offer such a “musical device.” And, anyway, there is no outwardly Russian theme in the 3rd Quartet, the C Major. In the 2nd, Beethoven made use of an old folksong called “Slava!” (“Rejoice”) which has become more famous to Western ears through Mussorgsky's using it in the Coronation Scene of his opera Boris Godunov, first composed in the late-1860s, where it doesn't stand out as a quotation. By that, I mean Mussorgsky's music is so authentically Russian, no Westerner would notice this is an old folk-song. With Beethoven, so (if anything) authentically German, the sound of its incorporation within his style sticks out like a sore thumb and in fact the way he uses it, it almost sounds like he's deliberately having fun with it or even making fun of it, turning it into that most academic of formats and so antithetical to folk-song, the fugue – then especially when the tonic/dominant cadence gets so carried away, it sounds like its beating up on it and chasing it out the door. Perhaps by the time he got to the 3rd Quartet, he'd thought, “enough.”
The expansive opening movement, following a very enigmatic introduction – harking back, most likely, to Mozart's “Dissonant” Quartet, also in C Major – is more compact than the other quartets' but on the whole more approachable, too, as if he's letting listeners baffled by the first two off the hook with this one (or so it might seem).
As one of the early reviews said, "Three new, very long and difficult Beethoven string quartets, dedicated to the Russian ambassador Count Razumovsky, are also attracting the attention of all connoisseurs. The conception is profound and the construction excellent, but they are not easily comprehended." Perhaps the comparative tunefulness of the Third's opening brought a sigh of relief?
The second movement (beginning c.8:45), however, could have something Slavic about it – again, more likely Beethoven's impression of something Slavic – in the mood of the theme though its most memorable feature is the cello's steady pizzicato, almost like a tolling bell – and Russians did love their bells. That hasn't kept other writers from hearing something Spanish or even more exotic in it.
The third movement (beginning c.18:38), rather than being a typical scherzo, is more of a throwback to the graceful days of Mozart and Haydn, the previous generation, a minuet marked “grazioso.” But this sets up the finale more perfectly than a typical Beethoven scherzo possibly could.
And yet, this was even more of a throw-back, this time to the highly contrapuntal days of Bach and Handel of the 1740s or so when Fugue was king. (In Beethoven's day, Bach was little known, at least to the general public; Beethoven admitted more than once Handel was one of his favorite composers). The finale starts off with a vigorous (!) fugue and this dense and busy texture – a perpetual motion, at that – dominates the movement to the point it no longer sounds like an academic and old-fashioned dry-as-dust fugue, the kind of thing all students learn to compose but then probably shouldn't. While it's very different from the Great Fugue that originally ended the Op. 130 Quartet, it's still a marvelous show-case of compositional craft combined with musical ingenuity.
Before, Mozart or Haydn – or any number of those other composers the typical American audience is unaware of who were their contemporaries – wrote for what is called “the amateur market.” In the days before ipods and CD-players turning us into passive listeners, people were actively involved in making their own music and it was typical to assume the intended audience for a new string quartet was essentially the four people who played it and maybe their friends and family who sat in the parlor listening to them. (Think Schubert growing up in a household where his older brother played 1st Violin, he would play 2nd Violin and then Viola when another brother became proficient enough to play 2nd, and their father played Cello.)
Even given the level of playing available at a time before “amateur” became a pejorative term, how Beethoven wrote these new string quartets was something new. Not only was the playing level above the average amateur string-player, it required dedicated practice and rehearsal time and also expected more of its listeners. These were, essentially, the first professional string quartets on a “symphonic” scale – and intended for public performance.
And the level of technical challenge for the players led Schuppanzigh, on at least one occasion, to complain about a particular passage: “how do you expect me to play that?!”
While Beethoven's response is famous (and translated variously), we don't know what specific passage, much less piece, it was Schuppanzigh was referring to.
“What do I care for you and your damned fiddle when the spirit moves me?”
No aristocratically employed composer in Haydn's time would have gotten away with that...
The idea of “chamber music concerts” was also something new at the time. Before, an aristocrat might have some “house musicians” who would perform for their guests. Some even had “house orchestras” though now an orchestra like the one Haydn conducted at Prince Esterhazy's was a rare luxury: given the early-19th Century economy, it was more likely the musicians would double as house-servants and staff.
(Imagine the downstairs world of Downton Abbey doubling as a small orchestra to entertain at the Crawley's dinner-parties – what instruments, exactly, do you think Carson, Mrs. Padmore or Thomas might play?)
But Schuppanzigh had created a professional quartet in 1804 (the cellist had once been Haydn's principal cellist back in the day of Prince Esterhazy's employment) and though their public concert-series only lasted through 1808 – it is assumed (and it's odd no one knows this for sure) Beethoven's Op. 59 Quartets where first heard during their 1807-1808 Season – it was an important ground-breaking event in the evolution of “modern music.”
These works were not conceived as amateur music-making but for professional musicians to play for a preferably paying audience. We have begun making the bridge between aristocratic patronage and the free-lance, professional musician.
Count Razumovsky hired Schuppanzigh to form a “house quartet” for him in 1808, intending it to be “the finest quartet in Europe.” It was then that the Count's new quartet played his new Quartets at his palace - rather frequently, one imagines.
Speaking of amateur, the Count was a talented violinist himself – being an aristocrat, he was, technically, an amateur, no matter how well he played – and he enjoyed “sitting in” with his quartet to play 2nd Violin. On those occasions he preferred to sit back and listen (and one wonders if he was capable of playing the 2nd Violin parts in Beethoven's newest works), a fellow named Louis Sina played instead (talk about playing 2nd fiddle...). You might wonder if the Count could hold his own in “the finest quartet in Europe,” but then would his employees say, “excuse me, your lordship, but maybe you should sit this one out and let Mr. Sina play?”
It's quite possible if Ignatz Schuppanzigh hadn't existed, the quartets Beethoven wrote for the Count might have been very different. In a way, the violinist was almost as responsible as the patron was in bringing these three masterpieces about. Something to consider...
By the way, there were only two musicians in Vienna who played in the premiere of every Beethoven symphony between 1800 and 1825 – one was Ignaz Schuppanzigh.
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So who was this guy named Razumovsky?
|Andrei Razumovsky, 1776|
Officially the ambassador only until 1807 when he retired, Razumovsky served as Chief Negotiator for the Russian Empire during the Congress of Vienna (1814-1815), recreating Europe after the defeat of Napoleon, ending a generation of constant warfare that ranged across Europe from Spain to Moscow. For his services in this last diplomatic role, Tsar Alexander I gave him the title of Prince.
Today, he is best known as a friend and patron of Beethoven's who commissioned him to write three string quartets. The count was, as I mentioned, a capable amateur violinist and frequently played 2nd Violin in his own ensemble. After all, he'd played quartets under Haydn's tutoring in the 1790s but when Razumovsky asked Beethoven about lessons in composing string quartets in 1800, Beethoven, who'd just completed his Op. 18 quartets, declined and sent him to Aloys Förster who had been Beethoven's own mentor in the craft.
Called “an enemy of the [French] Revolution but a good friend of the fair sex,” Razumovsky had, as one person described it, the “pinched and malevolent face of a Russian police interrogator.” His manners were impeccable and he “radiated pride in all things: his birth, his rank and his honor, in his bearing [and] in his speech.”
Along with two other of Beethoven's aristocratic patrons – Prince Lichnowsky and Prince Lobkowitz – Count (later Prince) Razumovsky was one of the most extravagant princes “in a city full of the breed” (as Jan Swafford puts it so delightfully in his recent biography). The palace he built on an imposing hill overlooking a Viennese suburb – finished in 1808 – had a roof garden, a vast library, an art gallery as well as a hall just for the sculptures of Canova, one of the leading artists of the day, to say nothing of a fine music room.
Here, Beethoven was “cock-of-the-walk,” walking confidently through its halls and lording it over Viennese musical society as performer and seeming composer-in-residence. Unlike he relationships with Lichnowsky and Lobkowitz, Beethoven seemed to get on almost placidly with Razumovsky. In addition to these quartets, Beethoven also dedicated his 5th and 6th Symphonies to the count.
But on New Year's Eve, the last day of 1814 when the Congress of Vienna was in full swing (in so many ways), the Count was holding a lavish dinner with both the Austrian and the Russian emperors in attendance along with some 700 guests when, as Swafford describes it:
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“...a baking oven overheated unnoticed and fire got into the heating system. As the guests were eating, the palace erupted in flames... By the time all the fire engines of Vienna arrived along with thousands of Viennese, who enjoyed a good fire, there was nothing to be done. Gone were three blocks of mansion, the great stables and riding school, the chapel, the carpets and tapestries, the old-master paintings, the hall of sculptures by Canova. Razumovsky was found sitting stunned on a bench on his grounds, wrapped in sables and wearing a velvet cap.”
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|an older Andrei Razumovsky|
It's interesting to note that Countess Lulu von Thürheim, Razumovsky's sister-in-law, kept a kind of tell-all diary about life in Vienna at the time, giving us much daily information about life with the Count and his friends without ever making reference to his musical interests. The name of Beethoven is hardly mentioned.
And yet, if it weren't for these three quartets, Count Razumovsky would probably be forgotten except to historical experts: he certainly got more than he paid for when he asked Beethoven to write them for him!
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For all his wealth, however, Andrei Kirilovich Razumovsky was a descendant of Ukrainian cossacks – his uncle Alexei was born to a peasant family named Rozum in 1709 and he was a shepherd boy who had a pleasant singing voice. He sang bass in the local church choir where the local sexton taught him to read and write. Then, in 1731, a colonel named Vishnevsky was traveling through the area on his way back to the court of the Empress Anna (niece of the late tsar, Peter I, known as “Peter the Great”) and, impressed by the young man's vocal abilities, took him back to the imperial capital to become a member of the palace chapel choir.
So, how did the nephew of a former Cossack shepherd become the wealthiest man in Vienna who commissioned Beethoven to compose three string quartets for him?
|Kiril Razumovsky, 1758|
To this position, then, the Empress later named Count Alexei's younger brother, Kiril, born in 1728 shortly before Alexei went off to pursue a career as a singer &c in the court chapel. Still in his teens and attending a German university, Kiril was named President of the Russian Academy of Sciences and, in 1750, Hetman of the Ukrainian Cossack's autonomous region known as the “Zaporozhian Host” which he continued to hold until 1764 when Empress Catherine the Great dissolved the post (and the Host's autonomy), making Razumovsky a Field-Marshall instead. He would die in January, 1803, in his palace at Baturyn, the old Zaporozhian capital, at the age of 74.
|Kiril Razumovsky's Palace, Baturyn|
It intrigues me, though, considering how conscious the aristocracy usually is of family lineage and heritage, that Count Razumovsky, for all his wealth and charm, was accepted by the aristocratic families of Vienna who must have known, after all, his father had been born a peasant who achieved his social position all because his uncle had a pleasant bass voice and became the Empress Elizabeth's “Emperor of the Night.”
Well, never underestimate the possibilities of a good musical education, I always say...