This book is for the serious lover of classical music. Does that include me? Not quite, though I enjoy music and generally lean towards the classical. I wasn’t able to listen to the quartets as they were discussed in the book, nor was I close enough to a piano to pick out the measures included for illustrative purposes.
Why did I keep reading? Because this is one musician’s story, and I love autobiography. Edward Dusinberre joined the Takacs Quartet as a young man in 1993. The group originated in Hungary and now has its home base in Boulder, Colorado. They travel all over the world for many months of each year.
What’s is like to work with the same group of four people over years and years? How do they decide what to play? What to record, which is quite a different experience? How do they evaluate their performances? How often do they play something totally unfamiliar? In addition to discussing these interesting subjects, Dusinberre provides a great deal of information about Beethoven. Why did he write quartets? What else was he writing, and for whom? What happened as Beethoven suffered the loss of his hearing?
The title of the book reflects a comment by Beethoven, in response to criticism of his Opus 59 quartets. “They are not for you, but for a later age!” What on earth did he mean? Do we hear and understand music differently now?
I reflected a great deal on the difference modern recording technology has made for performers and audiences. At the time of Beethoven, very few people had any control over what they heard. The very richest citizens had musicians among their servants, and could arrange a concert at will. Most people would be lucky to attend a performance now and then. Perhaps they heard most of their music in church.
I can listen to whatever I want, almost anywhere. Sometimes I have chosen to listen to a piece over and over, to learn it for a choir performance or “just because”. Hayden’s “Creation” got me through a difficult time in my life. I put it on the car stereo and just let it cycle. There is beauty in it that wasn’t apparent on the first few hearings.
So who knows what I might hear if I did the same with the Beethoven quartets? I would try it, but my car stereo died…
If I ever face enforced immobility, I’ll return to this book and lose myself in the music.