Beethoven’s (1770-1827) Quintet in C Major in 1801, is his only original work for this combination (two other quintets are arrangements of his own works). The Quintet is modeled on the Classical works of Haydn and Mozart, before B broke from this style and created his more deeply emotional, more musically complex style. The beautiful opening theme gives way to a contrasting theme. The Adagio mvmt begins and ends as a heartfelt idyll, evoking nature, with a middle section in darker tones. The Scherzo is elegantly springy, with a march-like fugue included. The themes of the Quartet in A minor derive from a spirit of song, with the exception of the march (Alla marcia mvmt). The theme of the last mvmt was originally intended for the finale of B’s Ninth Symphony. The 1st mvmt contrasts loud and soft, harsh accents and surprising tempo changes. The Scherzo is minuet dance. The finale’s theme has the elegant manner of Mendelssohn or Schumann. The title of the middle mvmt, “Holy song of thanksgiving of a convalescent to the Deity,” is B celebrating his recovery from abdominal pains. The mvmt is a sacred chant, using a theme of the Italian Renaissance composer Palestrina. The solemn section alternates with a livelier section B labeled “Feeling new strength.”