This week’s music is Beethoven’s string quartet No. 12 in E-flat major.
None of the three periods within Beethoven’s music made a complete break from the period that came before it. They were natural evolutions from the musical ideas Beethoven had previously explored. This is particularly true of the third period, which ran from 1817 until his death in 1827. This aspect of Beethoven’s work showcases the full flowering of his inventive capacity, complete with all the structural complexities of the heroic period and emotional tension resulting from his near-complete deafness. This maturation, combined with the personal struggles of his later life, makes the music of this late period immensely satisfying to listen to. It is humorous, yet meditative, anguished, yet peaceful, jarring, yet mysterious. It is the string quartet in its most complete form.
That is not to say, of course, that Beethoven did not begin to experiment quite often with musical ideas that would later become mainstays of the Romantic era. He certainly did. For instance, you will hear lyrical violin lines that resemble Mendelssohn more than the Haydn-esque style Beethoven began with. You’ll also hear jarring, shocking moments of explosive power, juxtaposed with serene, almost operatic serenades between the cello and the violins. In short, Beethoven’s late period exemplifies the beginning of the transition to a Romantic era that would create a musical home for Brahms, Wagner, Strauss, Liszt, and many more.