WoO 62 Fragment and sketches of a movement of the Quintet in C major for strings
I) Andante maestoso
WoO 62 – Fragment and sketches of a movement of the Quintet in C major for strings, november 1826, Published only in a piano reduction, for two and four hands, by Diabelli, under the title:”Letzer musikalischer Gedanke”, Vienna, 1838, in the Wiener liebling-Stücke der neuesten Zeit für das Pianoforte solo oder zu vier Händen collection; Recently by O. V. Irmer (G. Henle), 1950; and by W. Hess in the eighth issue of the Supplemente zur GA, 1964. H. 41 – B. 174 – KH. (WoO) 62 – N. p. 152.
The original manuscript for string quintet, purchased at the public auction of Beethoven’s estate in November 1827 by Diabelli’s associate C. A. Spina, has been lost. In a letter to Diabelli dated 26 September 1824, Beethoven promised to deliver a quintet, possibly within six weeks; in another letter from the same month, perhaps shortly thereafter, he still mentions a quintet with flute. However, these works were never completed; it cannot even be determined with certainty whether they were two separate compositions or just one. They are known to us only through the fragment of the first movement (two brief parts with recurring themes) in Diabelli’s piano reductions, and through some sketches, reported by Nottebohm, at the beginning of a sheet originally intended for the score of the new finale of the Quartet Op. 130.
The string quintet WoO 62, commissioned from Beethoven by Anton Diabelli in the summer of 1826, was probably begun in September of the same year but was never completed. In 1838, Diabelli published his own arrangement (of the introduction to the first movement) for piano four-hands and two-hands under the title Ludwig van Beethovens letzter musikalischer Gedanke with the note aus dem Original-Manuscript im November 1826 at his Vienna publishing house.
In July 1826, Diabelli asked Beethoven if he would be willing to write a string quintet for a fee of 100 ducats (in gold) (BKh 10 pp. 47f; Hess 41). At the insistence of Ignaz Schuppanzigh in August of the same year (BKh 10 pp. 138,167), Beethoven accepted the fee, as recorded in a letter to Diabelli on 26 September, promising to “deliver the quintet in just over six weeks…”, “das quintett etwas über 6 Wochen einhändigen zu können – ihre Wünsche werde ich beachten, ohne aber meiner künstelrischen [!] Freiheit Eintracht zu thun” (B 2209). However, this promise was not fulfilled.
It is unclear how far Beethoven progressed in this composition, tragically interrupted by his death. The sketches have survived in various stages of development and are dated differently by scholars (see Kurt / Staehelin / Wo062 String Quintets). Sabine Kurth, for example, considers Martin Staehelin’s study—which assigns the sketches to four different movements—as purely conjectural (Kurth / String Quintets, pp. 282 and 288).
Anton Schindler’s statement in a letter to Moscheles shortly before Beethoven’s death (24 March 1827), “Von dem Quintett sind 2 Stücke fertig” (BGA 2286), is generally doubted, because the only manuscript that can be referenced was listed as follows (no. 173): “Bruchstück eines neuen Violin-quintetts vom Nov[em]b[e]r 1826. Letzte Arbeit des Comp:”; Verzeichnis D-BNba, NE 103, III, 11), comprising “unfortunately hardly twenty to thirty measures in draft” (AmZ 30, 1828, 9.1.1828, col. 28).
This manuscript, purchased by Diabelli (from his associate C.A. Spina) at the 1827 Nachlass auction for the maximum price of 30 florins and 30 kreuzer, served as the model for the piano arrangements published in 1838 (Nottebohm / 1868 p.153 and Frimmel / Studien 2 p.193). Since the source is no longer traceable, Diabelli’s additions cannot be clearly identified.
At the bottom of Beethoven’s final sketches contained in his last pocket sketchbook (Taschenskizzenheft Skizzen 2), which do not pertain to the quintet, Anton Schindler noted: “Dies hier auf dieser Seite sind die letzten Noten, die Beethoven ungew zehn bis zwölf Tage vor seinem Tode in meinem Beiseyn geschrieben.” — A. Schindler.
Robin Winter largely agrees with this statement and questions the idea that Beethoven was working on the quintet shortly before his death, suggesting that these sketches were written at Gneixendorf before the composer’s fateful return to Vienna on 3 December 1826 (JTW p.459).
You can listen on the Musical Research Center to Gerd Prengel’s reconstruction based on the original sketches. Here is his description of the work:
“The introduction is almost completely by Beethoven. I just arranged it for a string quartet since it is just available in a piano arrangement by Diabelli (WoO62). I like this introduction very much. It reminds me of the wonderfully majestic and melodious introduction to Beethoven’s overture op.115.
The Allegro starts with flowing eighth notes in a way similar to the quartet op.59,1 with the main theme calmly performed by the cello. From 2:17 I use another wonderful and jubilent sketched theme from Beethoven’s quintett:.
In the development the main theme is elaborated only in minor – firstly in a calm and melancholic way and then with counterpoints and also conflicting ways. The Coda begins with a solemn slow variation of the main theme and ends with a furious stretta.
An Andante with 10 variations on Beethoven’s 9/8 Andante theme in G Major which reminds us of the Mozart-like Andante theme in 6/8 from the first Symphony op. 21 or the Andante from op. 18,6. I feel it is very suited for variations, especially those in minor I love very much.
A furious Presto in c-minor based on Beethoven’s 8 bar motif with equal 1/4 notes in the violins answered by the knocking fate motif in the bass. The Trio has a contrasting calm and melodic character”.
I tried to elaborate Beethoven’s theme (which reminds us of the Rondo from op.130) in several ways: with humorous parts, longer melodious cantabile parts and conflicting fugatos in the development. The Coda has two parts: a slow expressive variation of the main theme in c minor and a furious Presto.
WoO 62 is part of the “Research Becomes Art” project
A new life for the unknown works of Ludwig van Beethoven: An artistic exploration by Gerd Prengel and performed by https://www.rusquartet.com
in 02-2021.
Recorded on reel-to-reel tapes in Russia, produced by Artem Anokhin.
WoO 62 is part of the “Reserch Becomes Art” project
A New Life for the Unknown Works of Ludwig van Beethoven: An Artistic Exploration by canale YouTube Classic Digital. WoO 62 Orchestriert, gespielt von Synthesizern. Tanks to Michael Wermke.
WoO 62 is part of the “Research Becomes Art” project
A New Life for the Unknown Works of Ludwig van Beethoven: An artistic exploration by our collaborating artists.
WoO 62 is part of the “Research Becomes Art”
A New Life for the Unknown Works of Ludwig van Beethoven: An Artistic Exploration by Adrian Gagiu