Ehnes Quartet – The Beethoven Cycle, IV
About the Event
The Ehnes Quartet continues its eagerly anticipated Beethoven Quartet Cycle at UCLA!
The Ehnes Quartet, in its exciting three-year partnership with the UCLA Herb Alpert School of Music as the school’s Visiting String Quartet in Residence, presents the next thrilling installment of its comprehensive six-concert chronological exploration of Beethoven’s complete string quartets. The 2027 performances in Schoenberg Hall showcase the ensemble’s signature interpretive depth, seamless collaboration, and profound musical insight as they delve deeper into Beethoven’s evolving mastery of the medium.
As 2027 approaches—the 200th anniversary of Beethoven’s death (March 26, 1827)—this cycle arrives at a poignant moment, illuminating the enduring power and timeless relevance of his quartets. Drawing on Professor William Kinderman’s seminal study The String Quartets of Beethoven, the series highlights Beethoven’s transformative processes: motivic evolution, variation, and interconnection. These middle-period works build on the foundations of the early quartets with greater symphonic scope, emotional intensity, and structural innovation, bridging toward the profound depths of his late masterpieces.
Program IV – The fourth concert of the cycle
Wednesday, May 19, 2027 at 7:30pm
Schoenberg Hall, UCLA
-String Quartet in E-flat Major, Op. 74 (“Harp”) — Optimistic and inventive, named for the pizzicato arpeggios evoking a harp in the first movement. It balances classical elegance with forward-looking experimentation, featuring a tender Adagio and a set of variations that showcase Beethoven’s lyrical warmth and playful energy.
-String Quartet in F Minor, Op. 95 (“Serioso”) — Compact, powerful, and deeply expressive, this “serious” quartet is taut with emotional intensity and dramatic urgency. It distills Beethoven’s middle-period style into a concentrated masterpiece of stark contrasts and profound depth.
-String Quartet in E-flat Major, Op. 127 — A pinnacle of the late period, blending structural innovation with sublime lyricism. The opening Maestoso leads into rich thematic development, followed by a transcendent set of variations, a lively scherzo, and a joyful finale that radiates spiritual warmth and masterful counterpoint—foreshadowing the visionary heights of Beethoven’s final quartets.”