Ludwig van Beethoven (1770-1827): Quartet in C-Sharp Minor, Op. 131

Between 1816 and 1826, Beethoven composed a series of extraordinary masterpieces—his Ninth Symphony and Missa Solemnis, five piano sonatas, and the five string quartets with opus numbers 127 to 135. Just before these works began to appear his output had been slim, for the compositions of his middle years had exhausted the possibilities of the classical forms he had inherited from Haydn and Mozart. His final works were to require new subjects, new forms, and new powers of creation. Beethoven’s last quartets have such great density, combining concentration and tension with great weight, that they puzzled musicians for generations. The technical and interpretative difficulties they presented were usually blamed on the composer’s deafness. Early critics thought that during his years without hearing Beethoven had lost touch with musical reality, yet we now believe that deafness liberated him from convention and freed his musical imagination.

Beethoven began to work on Op. 131 late in 1825, after completing the three-quartet commission (Opp. 127, 130, 132) for Prince Galitzin, and sent it to his publisher on July 12 of the next year. Beethoven’s flippant note on the score—“Put together from pilferings from this and that”—caused the publisher great concern, and the composer had to assure the publisher that the music was completely original and his remark was only a joke. In retrospect it now seems that his comment may have referred to the seven separate movements making up a unified work. Op. 131 was first played at a private concert in Vienna in December 1826, but the initial public performance did not take place until 1835, long after Beethoven’s death. Lasting close to forty minutes, the quartet is divided into seven sections that are played without pause, creating a completely organic, well-integrated whole. The burden for projecting this underlying unity rests with the performers, who must maintain the proper relationships of tempo and mood for the work to flow smoothly from beginning to end.

The very slow introductory Adagio is basically a fugue, followed by four episodes and a coda, all based on the sober melody originally stated by the first violin. The section ends with a quiet rising C sharp octave leap, which finds an echo in the ascending D octave leap that opens the second section. The fast second movement sails forth with none of the profundity or expressiveness of the first movement. Even the thematic material contributes no striking contrasts to create dramatic tension, and good spirits prevail throughout. The short third movement that follows, only eleven measures long, is in effect a recitative, a rhythmically free introduction to the Andante.

The fourth movement is an expansive theme and variations that provides the pivotal central focus of the entire quartet. The syncopated theme is shared by the two violins. Beethoven then puts the melody through a series of six variations in which it is completely shaped and fashioned to reveal fully all of its expressive potential. The Presto corresponds to the Classical scherzo movement, playful and humorous in spirit. Its lightness of character, though, disguises a score that is treacherously difficult for the musicians. After an abrupt opening four-note growl by the cello, the first violin picks up the dancelike tune, interrupted by passages of smooth legato articulation. Beethoven directs that the final return of the opening tune be played ponticello (bowed near the bridge), producing a delicate, glassy sound. The whirlwind motion continues until two sets of chords effectively end the movement.

A short, introspective Adagio, twenty-eight measures long, provides a transition between the Presto and the Finale. Two bold, angry unison phrases open the Finale to introduce the martial main theme with its dotted rhythm. The movement alternates between the forceful first theme and quieter contrasting passages, including a melody derived from the fugue at the beginning of the quartet. Beethoven once confided to friend Karl Holz that while all of his sixteen quartets were unique, “each in its way,” his favorite was the C sharp minor, Op. 131.

Notes from material by Susan Halpern and Melvin Berger

 

Maurice Ravel (1875-1937): Quartet in F Major

Recognized universally as one of the most important composers of the late 19th and early 20th centuries, Ravel possessed a distinctive style which can be heard in his symphonic and keyboard works, mixed chamber pieces, vocal repertoire, and in his sublime string quartet. Ravel was a student of contemporary philosophy, poetry, art and music, and passionately studied literary and musical works of the masters of the 19th century. His skill in mixing new sounds, unusual meters, and asymmetrical melodic shapes with established compositional principles give his music its exotic sound.

Ravel’s only string quartet was written in 1902-03. The quartet received rave reviews from the National Musical Society at its debut, and garnered praise from his colleagues in Paris, most notably from Debussy. Upon hearing a performance of Ravel’s quartet, Debussy wrote, “In the name of the gods of music, and in mine, do not touch a single note of what you have written in your Quartet.” Ravel dedicated his quartet to his mentor and teacher, Gabriel Fauré.

The elegant first movement of the quartet is in sonata form, and both its first and second themes reappear in the other movements of the piece. The movement opens with a lush theme in the first violin, which is supported by ascending lines in the lower three voices of the quartet. A brief outburst between the two violins is followed by one of the most beautiful second themes in all of the quartet literature. The viola and first violin share the meandering second theme, which segues directly to the concise development. Versions of both the first and second themes are shared before the seamless transition into the recapitulation. Ravel’s treatment of the musical texture surrounding the principal themes is always interesting, his use of pizzicato, tremolo, and arpeggios helping to keep the general texture bright and clear.

Ravel attended the World Exposition in Paris in 1889 and was struck by the performances of Javanese gamelan music he heard. The rhythmic power and articulate style of gamelan became the inspiration for the second movement of the quartet. Ravel opens the polyrhythmic movement with a plucked primary theme, and uses pizzicatti throughout as a textural and rhythmic underpinning to the bowed themes. The main theme of the second movement is derived from the second theme of the first movement, but is ingeniously camouflaged by way of rhythmic variation. The heart of the second movement is the trio, where a muted theme, played first in the cello, is taken up by the viola and first violin, and completed with the second violin’s harp-like pizzicato version of the opening theme. The music of the opening of the movement makes a brilliant return, and the movement ends with a fiery unison pizzicato.

The third movement is both rhapsodic and ethereal, and showcases the dark sonorities of the muted viola. Versions of both the first and second themes from the first movement reappear, woven discreetly into the texture through Ravel’s virtuosic orchestration. An outburst from the cello breaks the mood momentarily, but the tension is assuaged by tremolos in the treble voices. The intimate warmth of the music is achieved through Ravel’s use of mutes, harmonic color, and dynamic directives.

The brilliant last movement is mostly in 5/8 meter, which gives the music a feeling of driving uncertainty. Ravel purposely marks the movement to be played as fast as possible. Here again, the themes from the first movement reappear, giving the listener a sense of emotional unity and satisfaction. The vivacity of the music never ceases and the movement sizzles to its decisive conclusion.

Notes by Kurt Baldwin

2021 Quartet Sponsorship

The Julius Quartet’s Emerging Artists Quartet-in-Residence experience is supported by Robert and Carolyn Nelson.

The Emerging Artists Quartet-in-Residence is a new program of Madeline Island Chamber Music and provides a comprehensive package of performances, teaching opportunities, and mentorship during five weeks on-site at Madeline Island Chamber Music, and one week in Minneapolis-St. Paul.

Madeline Island Chamber Music is very grateful to Bob and Carolyn for supporting the inaugural year of this program and this opportunity for the Julius Quartet.

Designated Multi-Year Scholarships and Fellowships

Art and Gail Edwards Fellowship
Established in 2015 by former Madeline Island Chamber Music Board member Jan Edwards and her sister Gail Danae Kasbi, the Art and Gail Edwards Fellowship provides Fellowship funding in memory of their parents who were longtime supporters of Madeline Island Chamber Music.

Edith Wells Bristol Scholarship Fund
The Edith Wells Bristol Scholarship was established to honor Edie Bristol, a longtime Board member and supporter of Madeline Island Chamber Music. Income from this restricted fund is used to provide scholarship aid to one or more deserving students.

Pace Woods Fellowship
Established in 2013 by the Pace Woods Foundation, whose mission is “to improve the lives and futures of individuals.” It was given in memory of Pace Woods and provides Fellowship funding for 2020-2022.

Pries/Hutchinson Scholarship Fund
Created by Constance Pries and her late husband James in memory of Frederick O. Hutchinson, their good friend and Madeline Island Chamber Music’s Board Chair in 1989, this fully-endowed scholarship fund provides full tuition, room, and board annually.

Private Foundation Fellowship
This anonymous foundation began funding an annual fellowship in 2014 while simultaneously contributing additional funds to fully endow it by 2024.

2021 Fellowships

Biebl Family Fellowship
Funded by Madeline Island Chamber Music Advisory Committee member Kathleen Biebl and her husband Anthony.

Jonathan Swartz Fellowship
Funded by MacPhail Center for Music Board member Linda Mack and her husband Warren in honor of Madeline Island Chamber Music’s artistic director Jonathan Swartz.

Vicki and Chip Emery Fellowship
Funded by MacPhail Center for Music Board member Chip Emery and his wife Vicki.

Thomas George Fellowship
Funded by the donors and supporters of MacPhail in honor of Madeline Island Chamber Music’s first executive director who established the program in 1985.

Bob and Carolyn Nelson Fellowship
Funded by former Madeline Island Chamber Music Board member Bob Nelson and his wife Carolyn.

Virginia K. Townley Fellowship
Funded by former Madeline Island Chamber Music Board member Thomas T. Rogers in memory of his mother, Virginia K. Townley.

Madeline Island Chamber Music provides more than half of our students with financial aid ranging from modest scholarship assistance to full Fellowships covering their entire program experience. We are grateful to our donors for their commitment to these Fellowships and scholarships.

Individual and Institutional Contributors

Madeline Island Chamber Music gratefully acknowledges the following individuals and institutions that made gifts to us, dating from prior to the cancelled 2020 season through June 1, 2021.

$20,000 and Above
Art and Gail Edwards Donor Advised Fund of The Minneapolis Foundation
Anthony W. and Kathleen M. Biebl
Dorothy Richard Starling Foundation
Chip and Vicki Emery
Warren and Linda Mack
Bob and Carolyn Nelson
Sonja and Lowell Noteboom
Pace Woods Foundation
Private Foundation
Constance Pries
Thomas T. Rogers
Katherine and Douglas Skor

$10,000 to $19,999
Mark William Banks Trust
Estate of Edith W. Bristol
The Clinton Family Fund
Bob Davidson
Peter Havens
Ann and Terry Huntrods
Nancy Platt Jones and William Jones
MAHADH Fund of HRK Foundation
Caroline P. Marshall
CPM Legacy Fund of St. Paul Foundation
Tom Murtha and Stefanie Lenway
Mary J. Streitz
Virginia and Ed Stringer

$5,000-$9,999
The Dorsey & Whitney Foundation
Edward and Dawn Michael
Bethany and Christopher Owen
Robin Petty
Taft Stettinius & Hollister LLP

$2,000-$4,999
Susan and Paul Arneson
Gretchen and Mark W.* Banks
Fran Bly and Charles Hample
Ann and Bruce Christensen
Betty Jayne Dahlberg
Duluth-Superior Area Community Foundation
The Fredrikson & Byron Foundation
Leland and Bev Gehrke
Philip and Amy Goldman
Alex Haecker
Mary Louise and Patrick Irvine
John S. Winston Family Fund of the Minneapolis Foundation
Douglas R. Johnson
John Kaul and Gloria Gunville
Drs. Sidney and Lynne Levitsky
RBC Wealth Management
Elizabeth and James Ramsland
Mary Hulings Rice*
Peter and Sara Richter
Emily Skor and Sean Cairncross
Janet and Harvey Sternat
Marilyn and William Van Sant
Frederick and Eleanor Winston

$1,000-$1,999
Arts Midwest
Judith and Merrill Blau
Demaris Brinton and Theron O’Connor
Richard Chandler and Heidi Pankoke
Susan T. Chandler and Bruce McLellan
Maureen T. Curran
Dellwood Foundation Inc.
Jay Erstling and Pixie Martin
George and Judith Haecker
Marcia and Burke Henry
George and Pinny Kuckel
Leslie Livingston and David Miller
Kathleen McCartin and Andre Lewis
Polly G. O’Brien
Fred and Gloria Sewell
Gary Sherman
Brian and Nancy Siska

$500-$999
Anonymous
Tracy Bennett and Robert Bristol
Greg Bernstein
Keith and Barbara Clayton
Dorothy M. Dalquist
Missy and Dave Donkers
Energizer Holdings, Inc.
Kenneth Goldsmith
Carol and Edward Hancock
Dorothy Horns and James Richardson
Betsy Knode and James E. Newton
Magellan Cares Foundation
Lauren P. March
Paul Markwardt and Richard Allendorf
Sheila Merzer
Gregory J. O’Leary
Tracy Peterson
Barbara Pittman
Theresa and Theodore Priem
Connie and Lew Remele
Susan Saxl and Robert Kramer
Richard and Judith Schmidt
Charlie Stringer and Kristin Hahn Stringer
Paul A. Sturgul
Jonathan Swartz
Mark and Deb Swedberg
Annelise Swigert
Mr. and Mrs. James Wiltz

$250-$499
Lois Albrecht
Robert Alexander and Becky Stemper
Don Baur and Phebe Jensch
Ann P. Buran
James Burmeister
Kyle and Shelley Carpenter
Cindy and Michael Dalzell
Kari and Peter Davidson
Jane Emison
Rose Fahien
Donald H. Gray, Jr.
Ellen Jones and Bob McKlveen
Min-Jeong Koh
Joann and Don Leavenworth
Lucas Capital Management
Steven and Cynthia Mueller
Audrey and Rusty Nelson
Barbara and James Nendze
Dana and Kathy Noteboom
Robert and Jane Post
Katherine and Richard Rosenthal
Kathleen Russell
Pat and Judy Sebranek
Harvey and Nancy Smith
Marjorie J. Smith
1. Michael Streitz
Jean Thomson
Robin Trinko-Russell and Gary Russell
Peter Tropman and Virginia Graves
Tyson Family Charitable Fund of the American Endowment Foundation
Donna Woods and Dr. Jon Hinrichs

$100-$249
Paul Babcock
Judith and Terence Ball
Lucy Banta
David Bjork and Jeff Bengtson
Hans and Christina Bjornson
Susan and Sandy Boyd
Judith and Arnold Brier
Susan and Tom Brust
Laura Nash Campbell and Eric Johnson
Anne Carter
Cecil and Penny Chally
Sheila Coyle
Alice Dickinson
Mrs. Douglas Dillard
Michael and Marilyn Dunlap
Martha W. Edgar
Victoria Erhart
Susanne K. Gens
Debbie Giachini
Janice and Fritz Grutzner
Bob and Janet Hanafin
Susan Jane Hedman
Andra and Patricia Herriott
Nell Hillsley and Van Lawrence
Mary Abbe Hintz
Alan and Judith Hoffman
Drusilla Cagnoni and Alexander Jacobs
Larry Kaufmann
Catherine and Dennis Kilbane
Richard Killmer
Susan and Edward Korleski
Ms. Judy Lin
Margaret Longlet
Brook W. Martin
Richard and Mickey Martin
Meredith and Brian McCormick Jr.
Peter and Cheryl McMullen
Sheila Mitchell
Caroline and Greg Moore
David and Audrey Nelson
Ardelle Norgaard
Mary D. O’Brien
Gil Overson
Peter and Joni Petschauer
Kathleen and Gene Ramsay
Phyllis and Gary Reiman
Judeth Reinke
Sarah Renner
Russ and Karen Rubin
Barbara and Bob Scott
Pitnarry Shin and Kyu-Young Kim
Marc D. Smith
Carolyn P. Sneed
Cynthia Turecamo
Mary B. Virre
Maxine Wallin
Robert Webb
Zoe V. A. Wells
Philip H. Willkie
James Wittenberg and Pam Weiner
Evelyn S. Wright
Wilson Yates

$1-$99
Carole J. Anderson
Linda Schaars Barnes
Angela and Ralph Breeden
Peggy and Joseph Carver
Karen Ruedi Crowell and Mike Crowell
Yvonne Foster
Jeff Goldenberg
Katie Heilman
Miriam Hof
Joel and Linda Jackson
Dr. and Mrs. Kenneth N. Krutsch
Josh LaGrave
Josh Lavik
Howard Ledin
Gay J. Lindquist
Kathleen Lytle and Allen Hoglund
Dennis and Barbara McCann
Rebecca E. McDowell
Mr. and Mrs. Greg Miller
Sarah and Nile Norton
Allen and Gail Ofstehage
Dawn Olver
Peter M. Rogers
Abigail and Charlie Singleton
Ann and Willy Stern
Stanley Wai and Gayle Jorgens
Jessica S. Walker
Marty Vadis
Gingie Ward
Kelly Webb
Peggy and Richard Williams

Gifts in Honor Of

Edie Bristol
Leslie Livingston and David Miller

David J. Buran
Ann P. Buran

Thomas M. George
Mary Streitz

Marcia & Burke Henry
Phyllis and Gary Reiman

Ann Huntrods
Kathleen and Gene Ramsay 

Linda Mack
Jay Erstling and Pixie Martin
Wilson Yates

Warren Mack
Wilson Yates

Thomas Murtha
Gregory J. O’Leary

Sonja and Lowell Noteboom
The Clinton Family Fund

Dr. and Mrs. Joseph Pittman
Barbara Pittman

Mary Hamel Scallen
Mary D. O’Brien

Dr. Irving Shapiro
Mary J. Streitz

Abbott Sherwin
Kathleen and Gene Ramsay

Isaac Sherwin
Kathleen and Gene Ramsay

Gifts in Memory Of

Mark W. Banks
Gay J. Lindquist
Katherine and Douglas Skor

Edie Bristol
Lucy Banta
Tracy Bennett and Robert Bristol
Angela and Ralph Breeden
Laura Nash Campbell and Eric Johnson
Anne Carter
Peggy and Joseph Carver
Mrs. Douglas Dillard
Yvonne Foster
Debbie Giachini
Larry Kaufmann
George and Pinny Kuckel
Leslie Livingston and David Miller
Lucas Capital Management
Lauren P. March
Brook W. Martin
Meredith and Brian McCormick Jr.
Peter and Cheryl McMullen
Mr. and Mrs. Greg Miller
Caroline and Greg Moore
Dawn Olver
Peter and Joni Petschauer
Robert and Jane Post
Judeth Reinke
Katherine and Douglas Skor
Cynthia Turecamo
Tyson Family Charitable Fund of the American Endowment Foundation
Mary B. Virre
Kelly Webb
Robert Webb
Peggy and Richard Williams

Michal Bristol
Leslie Livingston and David Miller

Marilyn Davidson
Kari and Peter Davidson
Howard Ledin

Marion C. Gray
Donald H. Gray, Jr.

William Griffith Harbison
Carol and Edward Hancock

Barbara Peet
Sarah Renner

James Pries
Dr. and Mrs. Arnold Brier
Barbara and James Nendze

Dr. Irving Shapiro
Jeff Goldenberg
Warren and Linda Mack

Janet Shapiro
Mary J. Streitz

*Deceased

Please excuse any errors or omissions that may have occurred during Madeline Island Chamber Music’s transition to MacPhail. If we have inadvertently omitted your name or listed it incorrectly, please accept our apology and contact Erika Malpass at malpass.erika@macphail.org.

 In-Kind Contributions

Dorsey & Whitney LLP / Mary Streitz, Esq. – Professional fees and meeting facilities
Family of Alice Cadotte – Lodging
Lathrop GPM / Greg A. Larson, Esq. – Professional fees
Claire Givens Violins – Instrument loans
Madeline Island Ferry Line – Transportation
Sylvan Design – Fountain maintenance
Taft Stettinius & Hollister LLP – Meeting facilities
Mark and Ewa Weir – Lodging