The quartet was a favorite musical form with the master.  Here the more intimate side of his nature is revealed.  A more personal relation is established between composer and audience than is the case in the other forms in which he worked.  As we have seen, the quartet, in the time of which we write, was universally in use at informal gatherings for the delectation of friends in the privacy of the home, and was not intended for concert use.  The stateliness which characterizes the large symphonic forms is absent in chamber-music, but it has qualities of its own which we value as much.

The last quartets owe their existence to Prince Galitzin, a Russian nobleman, who had spent some time in Vienna in 1805, and became acquainted with Beethoven at the house of the Russian Ambassador, Count Rasoumowsky, for whom it will be remembered Beethoven composed three quartets, opus 59.  In November of 1822 the Prince wrote Beethoven in the most flattering terms, asking him to compose three quartets at his own price, which were to be dedicated to him.  The master accepted the commission gladly, fixing the modest sum of one hundred and fifty ducats (about $330) for the three, reserving, however, the right to sell the quartets to a publisher.  Prince Galitzin was then living in state in St. Petersburg.  His wife was a fine pianist, he himself a first-rate performer on the cello.  They occupied a prominent position in the musical life of the city.  The Prince was one of the original subscribers to the Mass in D, and has the credit of having brought about the first complete performance of this colossal work ever given.

When we consider the enormous expense of this undertaking, the copying of the many parts, as well as the sums paid for soloists, chorus and orchestra, most of which was probably borne by the Prince, and reflect that this is only an instance among many of his extravagant mode of living, it is not surprising to find that he became financially embarrassed, and was unable to carry out in full his obligation to Beethoven as regards paying for these works.

The Oratorio, “The Victory of the Cross,” which had already been begun, was laid aside in favor of the quartets; it was never resumed.  Notwithstanding his enthusiasm, work on the new commission made but slow progress.  Ill health and preoccupation in his nephew’s concerns took up much of his attention.  Occasional sketches were made, but it was more than a year and a half before the first one was actually begun.  It was outlined at Baden in the autumn of 1824, and finished on his return to Vienna.  Mention is made of this quartet by the master in an interesting letter to Messrs. Schott of Mayence, who had bought the mass and symphony, and had also purchased the quartet, paying fifty ducats for it.  Cordial relations had been established with these gentlemen, dating from the time of selling them the two great works just mentioned.  Some of Beethoven’s best letters are those written to his publishers.  An extract from the letter above referred to follows: