“A new kind of part writing”

Chapters 3 and 4 focus on Beethoven’s two statements that the work shows “a new kind of part writing” and “not less fantasy” than his previous works. The chapters explore, respectively, what each of these statements might have meant in terms of Beethoven’s compositional perspective, and in terms of performance and reception in his day. His comment on a “new kind of part-writing” is especially noteworthy, given that Op. 131 was his penultimate quartet. In light of the considerable experimentation in the middle-period quartets, one might have thought that by the 1820s Beethoven would have exhausted most possibilities for innovating in string quartet part-writing. To further explore what Beethoven meant, I go back to sketches and notes relating to the middle-period quartets, in particular his new idea of composing and hearing all four parts at once, which he noted down in a sketchbook around the time he was composing Op. 74. How does this new idea about the compositional process relate to the late quartets and Op. 131 in particular? I consider evidence from the sketches for Op. 131 as well as the early reception of the finished product. Adolph Bernhard Marx, for example, draws attention to the late quartets’ “Bachian counterpoint.” I focus in particular on the variations of the fourth movement. My analyses draw attention to the unique nature of all four voices, and the sense in which each part is crafted with careful attention to the art and science of listening.