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Updated: May 24, 2025
"Kneisel makes it a point to have all his pupils play chamber music because of its truly broadening influence. And he is unexcelled in taking apart structurally the Beethoven, Brahms, Tschaikovsky and other quartets, in analyzing and explaining the wonderful planning and building up of each movement.
"My dear sir," said the great man, "what is the use of bringing quartets and full scores to me? You should have taken them to Brahmson; he's the man you want. You know his address, of course just down the street." Lancelot did not like to say that it was Brahmson's clerks that had recommended him here; so he replied, "But you publish operas, oratorios, cantatas!"
Last night, he was so kind as to invite me to a musical entertainment at his house. He is a medical man; and he amuses himself in his leisure hours by playing on that big and dreary member of the family of fiddles, whose name is Violoncello. Assisted by friends, he hospitably cools his guests, in the hot season, by the amateur performance of quartets. My dear, I passed a delightful evening.
I remember saying to her when she was talking to me about one of Mozart's quartets she had just heard, that music was immoral, inasmuch as it provoked such enormous insincerity. It is strange that, although spite was painful to me, especially towards her, I could not help indulging in it. My failings gradually wrought in me confirmed bitterness.
To this general verdict exceptions must be made in the cases of some of the quartets, the clavier pieces, and The Seven Words, the last especially being, as I have already said, in his most splendid manner.
I have not yet got the three quartets and the flute concerto I wrote for M. de Jean; for when he went to Paris he packed them in the wrong trunk, so they are left at Mannheim. Do people go to see them? The prima donna is, no doubt, Madlle. Keiserin, whom I wrote to you about from Munich. I have heard her, but do not know her. I shall not have a moment's peace till I once more see those I love.
Wagner calls it the Apotheosis of the dance. In these later symphonies we see the beginnings of the mysticism which so profoundly influenced Beethoven in his last years, reaching its consummation in the Mass in D, the last Quartets, and the Ninth Symphony.
"Apollo and the Muses do not yet intend me to become the prey of the bony scytheman, as I have yet much to do for you, and much to bequeath, which my spirit dictates and calls on me to complete before I depart hence for the Elysian Fields; I feel as if I had written scarcely more than a few notes." The initial performance of the first of the Galitzin Quartets took place in the spring of 1825.
Many years were to elapse before the next and last symphony was to appear; years in which the ripening process was to go on, and which were to culminate in the Mass in D, the Choral Symphony and the last quartets, works that are in a class by themselves in the same sense that the works from the Third Symphony on, up to, and including the Eighth, are in a class apart from the others.
It was a condition which had its compensations. That there were periods when he saw visions may be conjectured by the character of the last quartets. When they were written, Beethoven was in the shadow of death, on the border-land of the other world, and from that proximity he relates his experience.
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