| David Finckel and Eugene Drucker discuss Beethoven’s early influences. (1:56) |  |
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| David Finckel and Eugene Drucker discuss Beethoven’s first set of quartets, Op. 18. (3:55) | |
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The string quartet grew out of an assortment of 17th- and early 18th- century works for three, four, or five instruments, as well as the four-part counterpoint of J. S. Bach (for unspecified instruments). By Beethoven’s time, Mozart and Haydn had made the string quartet into a coherent genre (two violins, one viola, and one cello) and established a four-movement structure as the standard.
Beethoven’s first six quartets, published in a set as his Op. 18 (echoing sets of the same number published by both Mozart and Haydn), clearly show that Beethoven had absorbed the model of his predecessors. While their structure is conventional, already Beethoven shows some of the directions his later works would take.
Below are letters to Beethoven’s friend Carl Amenda. With the first letter, Beethoven included a copy of Op. 18, No. 1; in the second, he asks his friend not to circulate the piece.
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June 25, 1799
Dear Amenda,
Accept this quartet as a small remembrance of our friendship, and as often as you play it, think of the days we spent together and at the same time of the genuine affection which I felt toward you, and which I shall ever continue to feel.
Your sincere and warm friend, Ludwig
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Vienna, June 1, 1800
My Dear, My Good Amenda, My Heartily Beloved Friend,
With deep emotion, with mixed pain and pleasure did I receive and read your last letter. To what can I compare your fidelity, your attachment to me. Oh! How pleasant it is that you have always remained so kind to me; yes, I also know that you, of all men, are the most trustworthy. You are no Viennese friend; no, you are one of those such as my native country produces …
Only think that the noblest part of me, my sense of hearing, has become very weak. Already when you were with me I noted traces of it, and I said nothing. Now it has become worse, and it remains to be seen whether it can ever be healed …
Help your friend to bear with his troubles, his infirmity. I have also greatly improved my pianoforte playing. I hope this journey [to Budapest for concerts] may also turn to your advantage; afterwards you will always remain with me. I have duly received all your letters, and although I have only answered a few, you have been always in my mind, and my heart, as always, beats tenderly for you. Please keep as a great secret what I have told you about my hearing; trust no one, whoever it may be, with it. Do write frequently; your letters, however short they may be, console me, do me good. I expect soon to get another one from you, my dear friend. Don’t lend out my Quartet any more, because I have made many changes in it. I have only just learnt how to write quartets properly, as you will see when you receive them.
Now, my dear good friend, farewell! If perchance you believe that I can show you any kindness here, I need not, of course, remind you to first address yourself to
Your faithful, truly loving, L. V. Beethoven
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From Beethoven’s Letters, translated by J. S. Shedlock (Dover, 1972)
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