- No. 1 in F Major, Op. 18, No. 1
- No. 7 in F Major, Op. 59, No. 1, “Razumovsky No. 1”
- No. 16 in F Major, Op. 135

The program opens with two of Beethoven’s early quartets, Op. 18, No. 1 and Op. 59, No. 1, representing the "alpha" of his quartet writing, where the classical forms are still in full force, yet already imbued with Beethoven’s own bold harmonic and thematic innovations. Op. 135, Beethoven’s final quartet, serves as the “omega,” bringing the cycle to a conclusion with its philosophical and serene exploration of life’s final questions, a work that is often seen as a reflection on peace and resolution.

► Cycle Ⅰ Wed, June 11 19:00

- No. 2 in G Major, Op. 18, No. 2
- No. 8 in E Minor, Op. 59, No. 2, “Razumovsky No. 2”
- No. 15 in A Minor, Op. 132

This section is devoted to works that reveal Beethoven's deep spiritual and existential reflections. The second quartet of Op. 18, with its lyrical and expressive qualities, is paired with the emotionally charged Op. 59, No. 2, one of Beethoven’s most dramatic quartets. The journey culminates in the monumental Op. 132, written in the aftermath of Beethoven's struggle with deafness. This work, often seen as a profound "holy song," features the celebrated slow movement marked "Heiliger Dankgesang" (Holy Song of Thanksgiving), which serves as a moving expression of gratitude for Beethoven's recovery.

► Cycle Ⅱ Thu, June 12 19:00

- No. 3 in D Major, Op. 18, No. 3
- No. 10 in E-flat Major, Op. 74, “Harp”
- No. 9 in C Major, Op. 59, No. 3, “Razumovsky No. 3”

The theme of light and optimism is explored in this section, showcasing Beethoven’s more exuberant and joyous side. Op. 18, No. 3, with its elegant and buoyant character, is contrasted with the more dynamic and virtuosic Op. 74, the “Harp” quartet, named for its characteristic pizzicato passages. Op. 59, No. 3, with its radiant and noble themes, exemplifies Beethoven’s full command of the string quartet form, combining elegance and depth in a way that transcends the classical tradition.

► Cycle Ⅲ Sat, June 14 19:00

- No. 4 in C Minor, Op. 18, No. 4
- No. 11 in F Minor, Op. 95, “Serioso”
- No. 14 in C-sharp Minor, Op. 131

The darker side of Beethoven’s music comes to the fore in this section, focusing on his more introspective and dramatic quartets. Op. 18, No. 4, with its striking contrasts and emotional intensity, is paired with the somber and deeply emotional Op. 95, also known as the "Serioso" quartet, one of Beethoven's most intense and concentrated works. The section concludes with the late masterpiece, Op. 131, a work of profound complexity and introspection. This quartet, written in seven interconnected movements, represents Beethoven’s ultimate vision, filled with both shadow and light, tragedy and transcendence.

► Cycle Ⅳ Sun, June 15 14:00

- No. 5 in A Major, Op. 18, No. 5
- Grosse Fuge in B-flat Major, Op. 133
- No. 13 in B-flat Major, Op. 130

This section delves into the theme of freedom, exemplified by Beethoven’s innovative use of counterpoint and form. Op. 18, No. 5, with its lighthearted character and masterful use of theme and variation, contrasts with the monumental Große Fuge (Op. 133), a bold and groundbreaking work of complex fugue writing that redefines the boundaries of the string quartet. The program concludes with the revised finale of Op. 130, which, after its original, revolutionary closing movement (the Große Fuge), was replaced with a more traditional, yet still expansive, movement that speaks to Beethoven’s ability to blend freedom and form in his late works.

► Cycle Ⅴ Tue, June 17 19:00

- No. 6 in B-flat Major, Op. 18, No. 6
- F Major, Hess 34 (Piano Sonata Op. 14, No. 1, Arranged by himself)
- No. 12 in E-flat Major, Op. 127

The final section focuses on the emotional depth and melancholy that permeates Beethoven’s late quartets. Op. 18, No. 6, with its lyrical beauty and meditative quality, is followed by a rarely performed arrangement of Beethoven’s F-major string quartet, which was adapted from his Piano Sonata Op. 14 No. 1, showing the fluidity of his musical ideas across genres. The cycle ends with Op. 127, one of Beethoven’s greatest quartets. Filled with profound emotional expression, intricate counterpoint, and spiritual depth, Op. 127 marks the beginning of Beethoven’s late quartets, which look forward to the transcendental exploration of sound, form, and human experience.

► Cycle Ⅵ Wed, June 18 19:00

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In Summary:

This Beethoven String Quartet Cycle offers a remarkable journey through the entire arc of Beethoven’s string quartet output, capturing his evolution from the classical influences of his youth to the bold, revolutionary expressions of his late period. At the core of this cycle lie the early Op. 18 quartets, which form the bedrock of the entire sequence. These works not only set the stage for Beethoven’s later innovations but also encapsulate his mastery of classical form and his emerging individuality. Each section of the program emphasizes a different aspect of his compositional language, from the light and joyful to the shadowed and introspective, from the fugue as a symbol of freedom to the deep, heartfelt expression of his later years. Through this carefully curated sequence, audiences will experience not only the breadth of Beethoven’s genius but also the profound emotional and philosophical depth that defines his quartets as some of the most significant works in the chamber music repertoire.

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