How to write about music: Beethoven

One of the things I cannot do is have music I really like – or want to like – on in the background. I’m referring to classical music primarily, and in particular, Beethoven. There is so much to hear even in the early less radical stuff, but it easily goes in one ear and out the other if I’m not giving it my proper attention. It also feels vaguely disrespectful. Less so with Mozart, who for all his genius, definitely churned out a lot of filler.

Describing what you’re getting is hard to do well. Having got to know, sort of, Beethoven’s late string quartets, as they’re usually called, though you can probably never fully ‘know’ them, I’m starting from the beginning this year. Opus 18 no 1, the string quartet in F major. Here is a fine brief summary of it, by the pianist Peter Hill. I quote: “The opening of the first movement bristles with the suppressed energy and explosive contrasts we expect from early Beethoven, while the music’s continuity arises from the perpetual transformation of ideas, in particular the opening motif with its characteristic turn“. Not a bad description, and here is the coiled energy of that first movement, played by the uber precise Afiara Quartet

Wind it back to 1957 though, and here is the altogether more vivid prose of the late Roger Fiske , in the essential Chamber Music, edited by Alec Robertson, a legend of British classical music criticism:


You don’t have to be able to read music – I barely can – to get the gist of that and its  ‘philosophical point among equals’. The last phrase is exactly right: the first movement in question is indeed basically six ‘dusty looking notes’ polished to 24 carat gold. Beautiful and concise. You get the feeling Beethoven would have liked it too.

**If anyone is interested in guides to Beethoven’s amazing quartets, try 1, 2 and 3



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