Beethoven & Ries // Schuppanzigh Quartett

Why does he suddenly write such a short work in a very compressed way and almost simultaneously write the 7th symphony, which is more than twice as long? The key of F minor is called the "most passionate key" (André-Ernest-Modest Grétry) at the time and Beethoven gives it the title "Quartetto serioso".

When the Parisian violin virtuoso Pierre Rode reached Vienna in 1811 after tours throughout Europe, he met Ludwig van Beethoven for the first time. Two things interested Rode in equal measure: the string quartet and the violin sonata. So in 1811 he composed his quartet Opus 18 and had it printed in Vienna - exactly ten years after Beethoven's Opus 18 was also published there. He obviously held Rode in high esteem and wrote his 10th violin sonata for him. The dedicatee, however, is the brother of the Emperor and piano pupil of Beethoven's Archduke Rudolph. He rehearsed the work with the master and played the premiere together with Rode. The press was enthusiastic, especially about its simplicity. It surpassed almost all of Beethoven's other violin sonatas in "popularity, wit and mood", but the master was still somewhat ill-tempered, as he actually wanted to write a fiery finale, but this did not appeal to the Frenchman.

Until now, it was practically unthinkable to play these two successive operas (95 and 96) in one program. However, this becomes possible if one adds the arrangement by the Beethoven student Ferdinand Ries! Ries had studied Beethoven's style from the beginning. Among other works, he premiered the master's 3rd piano concerto. The 10th Sonata, which is already unusual and different in its appearance, is illuminated from a completely different side in the quartet formation. And so Opus 95 and Opus 96 are performed in one concert!