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We have produced a Style Guide to help editors follow a standard format when editing a listing. If you are unsure how best to edit this programme please take a moment to read it.
C. Warwick Evans (Violoncello)
BEETHOVEN'S last Quartets, of which thiis one, represent the matured mind of the master at work upon problems of expression in which ho attained heights that no musician had before aspired to reach. We find him. in his search for a deeper, fuller exposition of his thoughts, sometimes adapting and moulding the old forms anew, and even breaking the moulds altogether and creating new ones to hold his ever- widening ideas.
In the C Sharp Minor Quartet (written in 1826 a few months before Beethoven's death), there are seven Movements, several of them containing quick changes of mood. All are to be played without a break.
The FIRST MOVEMENT (Slow and very ex pressive) is a Fugue. When this has been ex pounded in simple style, the tune on which it is based is given out by the First Violin twice as quickly as at first, and a little episode' is built up. Later, the tune is heard in the ’Cello, in notes twice as long as at first. Soon after, the Movement comes to a long-held note and a pause, and so begins tho
SECOND MOVEMENT (Very quick and lively).
This straightforward piece of energetic music is followed by the ' THIRD MOVEMENT (Moderately, fast); .which is really only a few bars in declamatory style, bringing in the FOURTHMOVEMENT (Rather slow and in a singing style), a set of Variations on'a graceful, engaging theme.
FIFTH MOVEMENT(Very quick). The Scherzo, a ripe piece of jesting, full of quips and cranks, and of tremendous energy.
SIXTH MOVEMENT (Slow). Again a very short
Movement, that says much in few notes, and goes deep.
In the SEVENTH MOVEMENT(Quick) we feel once more Beethoven's elemental power, and something' of the introspection' that grew upon him. This is big music in every sense, and perhaps in some ways music to which one needs to grow gradually if one is to get into really to grow gradually,if one is to get into really close touch with the tender, far-seeing and farther-hoping humanity of the spirit behind it.

Bois Epais (Thick Woods) - Lully
Freisinn (Liberty) - Schumann
Ich grolle nicht (I'll not complain) - Schumann
Tho' I speak with the tongues of men (Wenn ich mit Menschen) - Brahms
9.55 Quartet in C Sharp Minor (Op. 131). - Beethoven


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