The Heart of Beethoven: An Inside View into Music and Letters by the Skazka Quartet.

Stories | April 17, 2025

A Quartet Born in the Time of Crisis

The journey of the Skazka Quartet began during the COVID-19 pandemic, at a time when the whole world had come to a near standstill; the new magical music has evolved. “Well, our quartet started during the corona pandemic because we finally had time to rehearse,” says Dimitri Ivanov, the violinist of the group. The members, who knew each other from different orchestras, seized on this opportunity to come together – not just as colleagues but as a musical family.
Their very first project was a children’s performance where the tale of Snow White was intertwined with Beethoven’s quartet. It was innovation par excellence and it set a style for their work: narration merged with classical music to create something that defied every concert format.

Photo Source: Skazka Quartet, Merita Project

Skazka Quartet and Merita Project

Their involvement with the Merita Project – an EU cofinanced platform that assists musicians, mentors, and organizers of concert – proved to be a magical experience. It brought them into contact with Simone Gramaglia, whose mentorship was a godsend. “We had a very inspiring lesson with him via the Dutch String Quartet Academy,” says Lena, the quartet’s second violinist. This connection not only sharpened their skills but also brought them to a residency that triggered one of their most ambitious projects.

The Birth of “Performance 131

The Skazka Quartet’s new project, “Performance 131,” combines Beethoven’s String Quartet in C-sharp minor, Op. 131, with his letters. The idea was born from deep respect for the oeuvre of Beethoven and a wish to perform music in a way that makes sense for audiences. In this way, performers and audience can understand better the inner self of this composer. As Emma, the cellist of the quartet, comments, “The piece itself is very inspiring. Schubert wanted it played at his funeral, and he wondered what was left for us to write after this”

By incorporating Beethoven’s letters into the performance, the quartet weaves in a narrative thread throughout the music to show different facets of Beethoven’s life: his struggles, his triumphs, and his tender humanity. Lisa, the violist, remarks that these letters changed her perception toward Beethoven: “I had this idea that he would have been a very angry man. But reading his letters, I figured out that he was actually very humble and kind.”

A Residency That Transformed a Vision

The quartet’s residency in Basel, under the guidance of Nicolas, was the all-important space for refining “Performance 131.” His insights helped them figure out how the narrative worked and what could be done to ensure the music and the letters interacted seamlessly. “He acted as a dramaturg,” says Dimitri describing Nicolas, “listening, watching, and offering feedback that was incredibly impactful.”

This residency was not only about precising a performance but immersing oneself in one. “Being together 24/7 allowed us to focus completely on the music and the project,” Lena adds. This extremely formative time of collaboration would manifest itself in a performance that the audience connects with on a personal level because of the quartet’s personal engagement with the material.

Source: Skazka Quartet, Instagram: skazkakwartet

Hopes for the future of the Skazka Quartet are as grand as their projects have been. They dream of taking “Performance 131” to audiences all over Europe, introducing them to this most personal fusion of Beethoven’s music and words. “We’re very thankful to Merita for allowing us to develop this idea into an actual concert,” explains Lisa. They also dream of creating similar performances with the works and letters of other composers, offering audiences a fresh perspective on classical music.

In a world where classical music so often feels remote and even stiff, the approach of the Skazka Quartet seems to be just the panacea. They remind one that behind a great composition lies a human story filled with emotions first, then struggles, and finally triumphs. They invite us not so much to hear but to understand in a very personal way, as if to see the composer as an individual, rather than a simple name in a program.