Aerosmith - No Surprize

The connection of the quartet with what Beethoven experienced in the spring and summer of 1825 is most eloquently indicated by the name of the third part, Molto Adagio: “A sacred thank-you song for the recovering Divine, in Lydian harmony”. The first theme of this part is stylized as church music of the 16th century, the second is an energetic minuet in the spirit of Handel and has an indication: “Feeling a surge of new forces”. Here, Beethoven embodied by means of instrumental music the bizarre design of Adagio cantique, which appeared back in 1818: it was supposed to combine “Christian hymn” and “Bacchus festival” there. Molto Adagio from the Quartet op. 132 combines completely different spiritual and musical strata: Antiquity, the Middle Ages, the Renaissance, Baroque and, finally, modernity, since only in the 1820s such a synthesis was possible,and exclusively in the work of Beethoven.