Review: Death of Classical's BEETHOVEN: STRING QUARTET OP. 131 at Green-Wood Cemetery

On September 4, Death of Classical, purveyors of fine musical experiences, presented the Ariel Quartet performing Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131 in the catacombs of Green-Wood Cemetery in Brooklyn.

The evening began with a whiskey tasting and light snacks inside Green-Wood’s stunning Gothic chapel. Completed in 1913, the space—adorned with stained glass and soaring ceilings—set a reverent, almost luxurious tone. Attendees mingled quietly until it was time to head to the crypt for the performance.

Before the group left the chapel, Death of Classical founder Andrew Ousley offered a few words about the evening’s program: “Wagner called it the the most melancholy sentiment expressed in music,” he said. “It’s very dark and beautiful… seven movements played without any interruption.” He added with a wry smile, “A lot of people have requested this be played at their bedside as they die… so it’s a good one to hear in a catacomb.”

Some (myself included) chose to walk to the crypt, while others opted for a trolley (for those who either wanted or needed it). The sun was just beginning to set as we strolled through the cemetery’s beautifully landscaped grounds—serene, historic, and surreal.

For those who don’t know, Green-Wood is a National Historic Landmark founded in 1838, and home to one of the largest outdoor collections of 19th- and 20th-century statuary and mausoleums. Its carefully curated grounds helped inspire the creation of Central and Prospect Parks. They call themselves a “living cemetery," and considering the regular activities like birdwatching, tours, “death cafes”, community events, and concerts like this one, they do keep the place alive. 

As we made our way toward the crypt, we strolled up Battle Hill and could glimpse the glowing NYC skyline in the distance.

The catacombs were lit only by candlelight and low orange sidelights, creating an atmosphere both intimate and haunting. Shadows of the musicians danced along the stone walls as the music began. The crypt's acoustics, shaped by its low, curved ceiling, were remarkable, echoing sound in a way that felt immersive, as though the music was vibrating through the walls.

As Ousley noted, “The Ariel Quartet is one of the best quartets playing today,” and this performance left no doubt. The musicians played with visceral emotion, bodies swaying and breath audible in the more frenzied sections. Their synchronization was almost psychic—just the slightest glance at the other kept them perfectly in step.

Beethoven’s Op. 131 moves between aching melancholy and spirited bursts of life, and this was played with no pauses between its seven movements. The only real breathers were when the music slowed sometimes to single strings being plucked, and in the crypt’s echo chamber, even the pluck of a single string rang out with intensity. I didn’t have to wonder what other attendees thought of it because for the entirety, the audience was silent, enraptured, hushed.

Death of Classical’s choice to stage concerts in spaces like Green-Wood’s catacombs and NYC’s other beautiful monuments to death, is a big part of what makes these performances not just unique, but brings these pieces to a more varied audience.

It transforms classical music into something visceral, atmospheric, and memorable. These events draw not just music lovers but also the adventurous. In doing so, they breathe new life into classical repertoire—by placing it, incongruently, among the dead.

Header photo credit: Steven Pisano

For upcoming events from Death of Classical, visit their website. They return to Green-Wood Cemetery October 1-3 with Houses of Zodiac and October 16 and 17 for Nightfall.