Inner-Voices-with-the-Australian-String-Quartet---Beethoven-String-Quartet-No9-in-C-Major-Op59No3-Razumovsky

Inner Voices: Ludwig van Beethoven, String Quartet No.9 in C Major, Op.59 No.3, Razumovsky

How does Beethoven show us how to be human? And even after 250 years, what is it about his music that attracts us so much?

Discover all this and more as Australian String Quartet musicians Dale, Francesca, Chris and Michael talk about Ludwig van Beethoven’s incredible contribution in the context of his String Quartet No.9 in C Major, Op.59 No.3, Razumovsky.

Featuring Australian String Quartet musicians: 
Dale Barltrop | violin
Francesca Hiew | violin
Chris Cartlidge | viola
Michael Dahlenburg | cello
Sam Jozeps | host

Title music produced by Adam Page
Sampler track by Belinda Gehlert
Edited and produced by Sam Jozeps
Narration recorded by Mitre Khammash
Interviews recorded on Ngunnawal Country, Canberra, ACT
Produced on Kaurna Country at the University of Adelaide, SA

Inner Voices with the Australian String Quartet is generously supported by the Thyne Reid Foundation.

Australian String Quartet Beethoven 1
Watch Australian String Quartet perform Ludwig van Beethoven's String Quartet No.9 in C Major, Op.59 No.3 Razumovsky

SAMPLER PRODUCED BY BELINDA GEHLERT

For every episode of Inner Voices with the Australian String Quartet, we commission and feature a new piece of music created with samples from that episode’s subject. This episode’s sampler was created by Belinda Gehlert:

Belinda Gehlert is a violinist, violist and composer whose professional creative practice spans two decades. Since 2005 Belinda has been writing chamber music, orchestral music and incidental music for the stage and screen. Belinda was first violinist and composing member of the Australian Art Music and Ruby Award winning, Adelaide-based Zephyr Quartet for 15 years. Belinda now enjoys a vibrant performing career as a freelance violinist and violist in chamber ensembles, theatre and world music bands. Belinda is a regular freelance musician with the Adelaide Symphony Orchestra, The Tasmanian Symphony Orchestra and the Queensland Symphony Orchestra.

It feels slightly sacrilegious to re arrange Beethoven so I really wanted to stay true to his colour palette and imagine what this quartet might sound like if you heard it in a dream or as a soundtrack to a silent film. 

I introduced a few electronic delay and reverb effects to morph some of the ASQ samples as well as adding extra strings and piano, essentially giving the track the sound of a piano quartet. 

The diminished harmony at the opening of the quartet is astonishing and I really enjoyed working with that part in particular.”