Copyright is owned by the Author of the thesis.

Permission is given for

a copy to be downloaded by an individual for the purpose of research and
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Ludwig van Beethoven

Quartets op. 18

A Thesis submitted in accordance

with the requirements
for the degree of
Master of Music
Specialising in the Violin

Massey University
Wellington Conservatorium of Music
New Zealand

Boris Kipnis

2002
 2

Table of Contents
Page No.

Acknowledgements 3

Summary 4

Introduction 5

Quartet No 1, F major 15

Quartet No 2, G major 25

Quartet No 3, D major 31

Quartet No 4, C minor 37

Quartet No 5, A major 45

Quartet No 6, B flat major 54

Conclusions 62

Bibliography 65
 3

Acknowledgements

I wish to thank the following for their assistance in producing this thesis:

Dr Donald Maurice and Yury Gezentsvey for their superv1s10n and

encouragement throughout this project.
 4

Summary
The thesis titled Ludwig van Beethoven, Quartets opus 18
consists of a comprehensive Introduction to the topic, followed by six
sections on the individual Quartets of op. 18. In the Introduction, the
historical, cultural, backgrounds in which Beethoven composed his op.18 are
described. This sets the scene for the review of Quartets No. 1 in F major,
No. 2 in G major, No. 3 in D major, No. 4 in C minor, No. 5 in A major, and
No. 6 in B flat major, which are all analysed and described in the Thesis.
The analysis of the background in which the work was composed, and the
impact of the various factors listed above on the resultant composition,
facilitated the conclusions reached at the end of the thesis. In undertaking
the research for this Thesis, it was clear that the foundations for Beethoven's
op.18 were to be found in the work of Haydn and Mozart. However, the
greater significance of the work became apparent. The anal ysis also pointed
to the role of Beethoven ' s op. 18 in the process of musical evolution.
Beethoven's op.18 reflected the sty le of his predecessors, but added to and
developed it. Beethoven ' s Quartets prompted a new medium of expression
and new ideas of scale of performance. This thesis also seeks to encourage
and inspire the modern musician. The challenge of producing the highest
quality of performance of Beethoven's op.18 , is to maintain the chamber
quality of the genre. It is also to ensure that Beethoven's quartet is developed
to achieve the significance of the symphony and furthermore to ensure that
Beethoven's composition is enriched with the scale of the symphony.
 5

Introduction
This thesis provides extensive foreground analysis and the background
to Ludwig van Beethoven's String Quartets op. 18. The purpose and scope of
the Thesis are also stated, as are the research methods used (ie, how and
where the data was obtained). The historical, cultural and social backgrounds
in which Beethoven composed his op.18 are described during the next eight
pages. The purpose of the thesis was to explore and describe the factors
which were integral to the development and character of this work. These
factors are portrayed in the various musical styles of the six Quartets in
op.18. How these styles are achieved is analysed in the section on each
Quartet. In this thesis the word "Scope" is intended to mean the breadth of
the subject being researched, the range of questions being asked, that is, the
limits of the enquiry. In this thesis, there is consideration of the scope of
compositions at the time. The influence of this on Beethoven's composition
in op . 18 was then determined. A wide range of research methods were
utilized during the writing of this Thesis: A literature review was conducted.
This is reflected in the key reference tools listed in the Bibliography. Analyis
of the factors impacting on Beethoven's composing of op. 18 was
undertaken. Careful review of the Scores for each Quartet was undertaken at
this stage as part of the analytical process. The resultant musical style of each
of the six Quartets was documented. These elements of the analytical process
were brought together in the Conclusions. The literature review, analysis and
Thesis writing was undertaken in Auckland, New Zealand, during 2001.
Regular communication with the Course Supervisor Dr Donald Maurice,
based in Wellington, was maintained by phone, fax and Email. Under the
topic of "Research Methods", the component of "How the data was obtained"
can be further clarified by a brief overview of the writers experience:
 6

Completion of five years tertiary education, specializing in the violin, in the

former USSR, and a number of years experience in positions as an orchestral
violinist in Europe, the Middle East, and New Zealand, practical
performances under the guidance of Yury Gezentsvey, and private teaching
of students ranging in age from five years to adulthood, have all contributed
to the knowledge on music and analytical skills utilized for the methodology
in this thesis.

Ludwig van Beethoven, Quartets op. 18

Ludwig van Beethoven composed String Quartets op. 18 over two years,
from 1798 to 1800. They belong to the so-called early period of the
composer's creative work which includes his first Bonn compositions and the
compositions written in Vienna before 1802.
After coming to Vienna in 1792, young Beethoven made his mark fairly
soon both as a composer and an excellent pianist-improviser. "First of all,
things are going well with me, in the best way possible. By means of my art I
am acquiring friends and respect, what else should I wish?" (Letters, 98).
This letter from Prague, of 19 February, 1796, addressed to his brother
characterizes the composer's mood and his well-being in that period. Often
performing in the palaces of Viennese patrons of the arts, the admirers of
music (among them one can mention the names of Lobkowitz, Lichnowsky,
Liechtenstein, Estherhazy, Kinsky, Apponyi, Browne, Fries, Zichi, Thun,
Russian Count Rasumovsky and other aristocrats), he gained such
prominence in high society that just his name guaranteed success for the
musical composition. In 1799 the Leipzig newspaper "Alligemeine
musicalische Zeitung" began systematic publications of reviews of his
compositions and comments on his concerts.
 7

In Vienna chamber music was particularly popular. Sonatas for various

instruments were written in dozens. They were dedicated to powerful
persons and performed for them too. The concept 'sonata" included also
sonata ensembles, including quartets. Quartets were composed by practically
all composers of that time. Among those still known are: Italian composers P.
Nardini and J.-B. Sammartini, later - L. Boccherini, a German composer K
Dittersdorf, a French one - L. Cherubini, and a Czech one - E.A. Forster.Of
course, the utmost achievements in the quartet genre belong to Joseph Haydn
who began to write quartets at the age of 23 (in 1755) and created 83
quartets; and also to Wolfgang Amadeus Mozart who wrote 26 quartets.
At that time (the second half of the 18th century) quartets for string
instruments had just become established as an independent genre. But the
first ensembles for string instruments had appeared as far back as the 17th
century. It was the genre of trio-sonata that became widespread in Europe for
more than one hundred years, up to the middle of the 18th century. The basis
of the trio-sonata was two violins a bowed bass instrument to which a
harpsichord (sometimes an organ) was added that performed the part of basso
continua. The harpsichord played the harmony which was insufficiently
formed by the main (obligato) parts. With some composers such as
Buxtehude and Tartini such sonata ensembles sometimes included four string
instruments when the harpsichord was not used. It may seem that this was
when the composition of the classical string quartet was formed. It is more
probable that this genre, with its homophonic basis, arose from a specific
modification of a string group of the symphonic orchestra.
Compositions containing four movements for the string orchestra had
been established already in the creative work of Bach, Handel and Vivaldi.
Later on, in the works of composers of the Mannheim school, a new genre
became established - that of the symphony. The basis of that orchestra was
 8

again the four-part string group.

It can be suggested that the brilliant idea of taking the composition for
the strings group of the symphonic orchestra as the basis (discarding the
double-bass that duplicated the part of cello) and to use it in the sphere of
chamber music was conceived by Joseph Haydn. In the writer's opinion, J.
Haydn was the first composer who elevated the genre of the Quartet to the
level of great compositions.
Since no part in the quartet was duplicated, as in the orchestra string
group, a new aesthetic quality was formed - that of creation of a peculiar
conversation of four voices - instruments with individualised parts.
Beethoven began to compose early but for a long time he did not
address the quartet genre. He composed pieces for piano and vanous
ensembles with participation of the piano. At the same time Beethoven
composed many trios for violin, viola and cello. The work on these
compositions became a creative laboratory for the composer, enabling him to
master the specific character of string ensembles.
The earliest string ensemble by Beethoven is a Trio, op. 3 for violin,
viola and cello written in Bonn, before 1792. Three years later (1795) Count
Apponyi commissioned a string quartet from Beethoven. However, the
composer sent him a String Quintet (op. 4), reworked from the previously
composed octet for wind instruments. In these compositions the influence of
Mozart was clearly reflected.
Then four more works for string trio were composed: a Serenade op. 8
in D major ( 1797) and Three Trios op. 9, G major, D major and c minor
(1798).
On ly in 1798, did Beethoven venture upon composing quartets ordered
by one of his sponsors - a Viennese patron of the arts and a music-lover,
Franz Joseph von Lobkowitz - to whom, in keeping with the tradition of the
 9

time, he dedicated this opus.

Unlike Bach and Mozart, who never wrote sketches and started musical
notation only after the future work was completely composed "in mind",
Beethoven paid great attention to short scores.
Quartets were composed and notated extremely quickly . Beethoven first
made a lot of disconnected short scores and then connected those fragments
in a single whole: "I remake much, reject, try again until I am satisfied, and
then in my head remaking starts - in width, lengthwise, in height and in
depth. As I realize what I want, the main idea never leaves me; it rises, it
grows _and I see and hear the image at large standing in front of my mind's
eye as if in a cast shape". ([Beethoven,] quoted in Dolgov, 1980,p 25). As is
testified by his contemporaries, the composer worked with great enthusiasm
and animation: themes were coming easily, and each movement was put into
the whole arrangement at once in almost completed form.
"Concerning the quartet particularly there are several characteristic of the last
manner pointed out in a thesis by Sauzay, dedicated to Ingres:
1. The equal importance of all four parts in the structure of the work, so
that interest is equally divided between all ·the instruments.
2. Thematic development much further extended in every technical aspect,
ie, harmony, rhythm, division of the beat, etc.
3. The preparation rather than the resolution of the melodic phrase.
 10

4. The succession of similar movements linked together one after the other
in the same time.
5. Much indication of accent, expression marks, explanatory phrases,
precautions taken by the artist to ensure a variety of tonal colour expressive
of his own ideas". ([Sauzay ,]quoted in De Marliave, 1961,p 15).
The first performances of the Quartets op. 18 took place at the home of
Beethoven's sponsor and friend - Prince Karl Lichnovsky. Beethoven had
friendly relations with him and his wife, Mary-Christine for a few years. At
one time he lived in their palace, and visited their estate.
A young musicians quartet performed at the prince's place on so-called
musical Fridays. To these house concerts, besides close friends, prominent
musicians were admitted and new compositions by Beethoven were played.
Thus, in the presence of Haydn, at Likhnovsky, Beethoven and the musicians
of the youth quartet performed for the first time three Piano Trios ( op. 1) by
Beethoven and three Piano Sonatas ( op. 2) dedicated to Haydn. The first
violinist and leader of the quartet was an outstanding musician and later a
friend of Beethoven. Ignaz Schuppanzigh was fifteen years of age in 1792.
The age of the second violinist, Johannes Sina, is not ascertained, a viola-
player Franz Weiss and an excellent cellist Nikolai Kraft were 14 years old.
The professional level of this quartet was evidently very high. In Vienna,
spoilt with musical talents, this group immediately attracted attention and
later was considered to be one of the best quartets in Europe.
Being keen on chamber compositions by Beethoven, Lichnowsky gave
him a quartet of valuable Italian instruments 1, which, most probably, were
played at the first performance of the quartets.
It is known that during rehearsals Beethoven was often rude to the
1
The first violin made by J. Guarneri ( 1728), the second violin -by N. Amati ( 1690), the viola-by V. Ruggieri (1690), the
cello - by A Guarneri ( 1712).
 11

performers, turning them against him. Once, when Schuppanzigh complained

about the difficulty of some passage in Quartet No. 7, the irritated Beethoven
answered, "Do you really imagine that I am thinking about some paltry violin
when inspiration arouses creativity in me?" (according to another translation2
- "when I am talking to God") ([Beethoven,] quoted in Dolgov,1980,p28).
Nevertheless, cases are known when the composer listened to the remarks of
the talented musicians and negotiated with them if the changes suggested did
not affect the essence of the musical thought. Thus, according to the words of
F.G. Wegeller, Kraft once persuaded Beethoven to change the passage in the
fin ale of Trio op. 1 No. 3.
Believe me, all my ill nature is my bo iling blood,

All my crime is my yo uth .

Wh at is my sin ? Even if at tim es

I'm liable to fit s of anger,

Still in my hea rt I'm kind .3

([Beethoven,] quoted in Fishman, 1971-1972,p 19)

" To create good wherever it is possible, to love freedom above all; to
fi ght for truth everywhere, even facing the throne" (Letters, 80).
Beethoven wrote the above quotation from the drama "Don Carlos" by
F. Schiller (act 2, scene 2), into the album of Wocke in Vienna, on 22 May,
1793. It could be characterised as the self-portrait and life credo of the
composer.
The Quartets op. 18 were published in 1801 in the Vienna publishing
house of T. Mollo, together with a Piano Concerto op. 15 , a Quintet op. 16
and a Piano and French horn Sonata op. 17, the first three quartets being
published in June and the rest in October 1801. According to the tradition of
that time, Mollo only published the parts, and the score went out only in 1829
2
Into Russian (translator ·s note).
3
Russ ian poetic translation by V.V. Levi k {translator's note).
 12

after Beethoven's death. In "Allgemeine musicalische Zeitung" it was said

about the first series of the quartets (from the first to the third) published by
Mollo; "Among new compositions there are excellent works by Beethoven;
three quartets prove the presence of talent; they need to be performed often
and very well, as they are difficult for playing and not in the least popular"
([Mollo,] quoted in Dolgov, l 980,p3 l ). A theorist of the greatest authority, I.
Albrechtsberger, found Quartets op. 18 worthless because they did not meet
traditional requirements.
"Don't keep up an acquaintance with Beethoven", said Albrechtsberger
to his disciple I.E. Dolezalek who showed him these quartets, 'He learned
nothing, and he'll never amount to anything" ([Albrechtsberger,] quoted in
Dolgov, l 980,p30). Nevertheless, the quartets became so popular that in 1802
Mollo published the second edition. To F. Hofmeister in Leipzig, of 8 April,
1802, Vienna, Beethoven wrote "Hen- Mollo has again recently published my
Quartets, let us say full of faults and errata 4 great and small, they swarm
like fish in water, ie, there's no end to them. Questa e un piacere per un
autore. 5 That's what I call printing; my skin is all over prickings and chaps
from the beautiful edition of my quartets 6 !" (Letters 154).
Beethoven did not like his compositions equally. But it is not difficult to
conclude from the context of his letters that he appreciated his Quartets op.
18 and liked them more than, for example Septet op. 20 ( composed in the
same time), and that he was most of all interested in their being published as
soon as possible, on a par with the First Symphony op. 21 and with the Third
Piano Concerto op. 3 7 which was not quite finished then. Anton Rubinstein
said about the compositions of that period, "Generally, in his [Beethoven's]
compositions of the first period the formulae of preceding compositions are

4
Misprints (Latin)
5
"This is pleasure for the author" (Italian).
6
There is a play on words: Stechen - engrave and S1ichen - pricks.
 13

still coming into view only partly, in the same way as the costumes, which
remain the same for some time, but in these compositions it is already heard,
that soon man's own hair will replace the powdered wig with a plait, that
boots, instead of shoes with buckles, will soon change man's gait (the musical
one, too), and that the frock coat, instead of a broad tail-coat with steel
buttons, will impart him with a different bearing. In these compositions,
along with a hearty tone (as with Haydn and Mozart), an intimate tone (which
is absent in their works) is also heard. Soon after that along with aesthetics,
ethics appear and one feels that soon he will change minuet to scherzo and by
that he will impart his compositions with more virile, serious character, that
with him instrumental music will achieve dramatic expression and come up
to tragic touch, that humor in it will come up to irony, and that music in
general will acquire completely new expressions. His grandeur in adagio is
amazing ... but where he is simply inconceivable is in his scherzo (some of
them I would compare to the fool in King Lear")" ([Rubinstein,]quoted in
Alschwang, 1952,p 96).
In his qua1iets Beethoven went along the path of one of his teachers, an
outstanding Czech composer, Aloys Forster. The review by Aloys Forster in
the "Allgemeine musicalische Zeitung" of Forster's quartets suggests that
Beethoven respected Forsters quartets. "Implementation of the main thought,
daring modulations and the unity of the whole - such are the qualities of these
three quartets ... Undoubtedly, in this genre, the composer will produce not
only a lot of good, but also a superior quality music, provided he will subject
his works to self-criticism and will be aware of ardour, dragging him into the
modulations which make compositions incomprehensible, strange and
gloomy". "Daring modulations" and "ardour" - both these epithets from the
very beginning had been assigned to the name of Beethoven. No wonder that
he treated Forster with great sympathy and called him "old teacher". Besides,
 14

it is known that Forster showed fatherly tenderness towards Beethoven and

rated highly the compositions of his young friend.
In the opinion of Alschwang, the Quartets op. 18, "from an historical
point of view occupy an intermediate place between classical chamber music
of the l 8111 century (elements of amusement, dance-like quality, typical
cadence formulae in finales, elegance of external refinement) and the new
chamber music of "serious" genre (the profound adagio, first signs of organic
unity of separate parts of a cycle)" (Alschwang, 104).
The initial numbering of Quartets op. 18 was changed by Beethoven
according to the advice of Schuppanzigh. This new order has been reflected
in all editions of the score. So the generally accepted numbering does not
correspond to the sequence of composition. Let us enumerate the quartets in
the order they were created (in brackets we give the numbers assigned to
them in all editions): D major (No. 3), F major (No. I), G major (No. 2), A
major (No. 5). As for the dates of composing quartets B flat major (No. 6), c
minor (No. 4), no precise data have been found .
The writer developed a professional interest m Beethoven 's op.18
during tertiary education in the former USSR. Selection of this research
question presented an opportunity to extend the writer's knowledge of this
significant part of musical evolution.
It was clear that the foundations for Beethoven's op.18 were to be found
in the work of Haydn and Mozart. However the greater significance of the
work became apparent. The analysis also pointed to the role of Beethoven's
op. 18 in the process of musical evolution. The purpose of selecting the
topic, that is, the research question, is to illustrate the way in which
Beethoven's op.18 reflected the style of his predecessors, but added to and
developed it.
 15

Quartet No 1, F major
The first quartet (F major) is dedicated to the friend of Beethoven,
violinist K. Amenda. This composition is remarkable for specific activity,
energy of positive images. According to the opinion of L. Spohr and T. Helm,
the first movement of this quartet is the summit of Beethoven's quartet music.
Their reviews noted first of all, the perfection of the quartet texture - the
evenness of distribution of thematic material and the flexible intensive
development of the main motive in all parts of the quartet.
There is a manuscript of the first version of this quartet which
Beethoven sent to his friend K. Amenda. "Dear Amenda! Accept this quartet
as a modest sign of memory of our friendship ," wrote the composer on the
score on 25 June 1799. "Every time when you play it, remember those days
that we lived together, and how deeply I loved you and always shall love you.
Your faithful and sincere friend Ludwig van Beethoven" (Letters 113).
Two years later Beethoven wrote to Amenda in Vibry, 'Do not give your
quartet to anybody, as I have remade it considerably. Only now I have
learned to compose quartets properl y, which you yourself will make certain
of when you receive them." (Letters 146). The majority of changes
introduced into the second version are connected not with re-making of the
melody line or harmonic plan but with the differentiation of accompanying
parts, with the creation of compact backgrounds, and with the introduction of
register and dynamic contrasts.
The first movement Allegro con brio, is in sonata form. In the basis of
its music there is a short theme-formula, set already in the first two measures.
In its first setting the features of Beethoven's style clearly appear, expressed
in the bold relief of energetic unison of all four instruments.
This motive appears in the first movement more than one hundred times,
 16

the whole length of the movement being 313 measures. Its structural
significance consists in thematic unification of the principal, connecting and
closing areas, as well as all the material under development.
The first section (measures 1-20) is a period of repeated thematic
formation (8+ 12) with expansion in the second section of the second half-
phrase. In it, two types of setting of the head-motive appear: one is resolute
and strong-willed (unison), the other one played by the violin is softer and
courteous.
The transition consists of three phases: the first is like an addition to the
first section (measures 21-29). If it were not for a very brightly expressed
cadence in measure 20, this section could be ascribed to the primary area;
secondly the section where the modulation proper is performed (measures 30-
48); and finally , the section preparing the key of the second section
(measures 49-56). For all three sections the use of polyphonic technique is
characteristic: in the first section there is a dialogue of two violins,
reminiscent of links of canonic sequence; in the second section there is,
firstl y, contrasting non-imitative polyphony (the cello performs the head-
motive several times, and the first violin introduces new thematic material,
theme of the transition proper, then the head-motive moves to the viola part,
and in the part of the first violin this motive unites with the theme of the
transition, forming a new thematic formation); in the imitational exposed
transition to the second section between the first violin and cello - there is a
round canon of the first rank. Here too, a scale-wise step appears that later
will play an important part for making the movement of the secondary area,
closing area and development more dynamic.
The second section is patterned after Mozart's sonatas and quartets (as
we will see further on, such formation of the secondary area is almost a
regular feat of op. 18). This period of repeated formation with developed
 17

additions in which characteristic dramatisation of motive takes place, leads to

the closing cadence with a trill. In the first 16 measures of the secondary area
(measures 57-72) thematic material is exposed four times successively, first
with the solo of the first violin, then of the viola, then of the cello and finally
of the second violin. This section is characterized by soft, neutral sounding,
smooth movement In addition the movement is livened up (measures 72-84),
the head-motive appears in a characteristic form of a dialogue, already
familiar from the transition, this time between the cello in high register and
the first violin; thi s dialogue leads to a dramatic conclusion in the key of d
minor (modulation into the key of the second degree is very typical of
Mozart), then the level of sonority continues to increase and leads to the
closing cadence in the key of C major.
In the closing section (measures 84-114) all the motives that were
encountered earlier in the exposition reappear. Firstly the material of the
secondary area (only in the ascending direction), then the head-motive with a
characteristic conversation and, finall y, the scale-wise moti ve.
The development section (measures 11 5- 178) is not large in scale and is
mainly built on the head-moti ve. The initial impulse is given by a scale-wise
moti ve on which (as would be expected) the transition to the recapitulation is
built. Theme formula is first heard in the bass with constraint, then in
expressive phrases of the first and the second violins, active fugato of all the
four instruments and contemplative dialogue (four-measure phrases) between
the first and the second violins. Then comes the section anticipating the
recapitulation.
The recapitulation begins with the first subject in four-octave ff which is
reduced to 8 measures ( 179-186). The transition is to some extent re-planned:
after the modulation step (measures 187-197) comes the theme of the
transition in G major. Starting with the third section of the transition
 18

(measure 210) and right up to the end of the closing area (measure 273) the
material of the exposition is repeated almost exactly, in the principal key of F
maJor.
From measure 274 the coda starts, designed to assert the general vigour
of the movement and to underline the dominant role of the head motive. For
the sake of curiosity, it is worth noting that in measures 282-283 and 286-287
we anticipate the setting of the first section of the coda of the first movement
of the Third ("Eroica") Symphony composed in 1804, that is, five years after
composing this quartet.
"Very fine is the imaginative reflection of this harmonic shock at the
beginning of the coda. Beethoven had the presumption to introduce a new
scale-motif at this late date, new at least in this clear form, and develop it a
bit. In fact the entire coda makes a particularly interesting herald.
The movement, then, is full of fits and starts, based on heady thematic,
rhythmic, and harmonic contrast. In the hope of cementing some of this
divergence, presumable, Beethoven planned a monolithic treatment of the
recapitulation: twelve bars of scales on the dominant, sweeping in his
recapitulated main theme fortissimo. Whatever the hopes, the effect is
blatant, and no less so for being thoroughly typical of the man" . (Kerman,
1967, p 34-35).
The features of Beethoven's mature style become strikingly apparent in
the second movement of the quartet (Adagio affettuoso) in d minor. In its
profundity and tragic strength, this Adagio is as exceptional in the chamber
music of the 18th century, as Mozart's Quartet in d minor and Quintet in g
minor. Deeply related in mood to Largo e mesto from Piano Sonata No. 7
(also slow and also in d minor)7 this Adagio was evoked by the scene in the
1 "
... many play largo e mesto from Sonata op. IO Nn3 " . Ya. I. Zack would say," But .m so doing,
.
how often. they do
not know Adagio from Beethoven's Quartet op. 18 No. I. I think, that these two masterpieces cannot be thought of
separately from one another, and one cannot perform one composition well without knowing the other one ... "
(Davidyan, 225).
 19

vault from Shakespeare's tragedy "Romeo and Juliet". It is characteristic that

in the short score of the last measures of the Adagio there is an inscription
"last breath" which also points to the concealed programme idea.

Programming 8 in the creative activity of Beethoven deserves separate

attention. It is known that Beethoven, at death's door, worried about the
underlying meaning of many of his compositions remaining undisclosed.
Schindler writes, "Foreseeing the approach of his death, he expressed h is
wish that I should publish his intentions concerning symphonies and piano
compositions" ([Schindler,] quoted in Alschwang, 1952, 196-197). R.
Rolland in his last book about Beethoven, devoted to his last days, refers to
the record of a conversation on this subject between Beethoven and Schindler
who tried to dissuade the composer from the advisability of his wish. Rolland
summarizes this discussion in the following way, "It is absolutely clear,
although most often people do not wish to recognize it, that Beethoven
attached psychological, even dramatic meaning to each of his compositions,
this meaning being quite exact and clear, and that he wanted to reveal it by
means of headings when publishing his complete works. He disagreed on this
question with most faithful people from his circle, with his disciples."
([Rolland,] quoted in Alschwang, 1952, 197).
This aspiration of Beethoven's for maximum reality of musical thought,
undoubtedly left its imprint on the creative process itself. The observations
of the contemporaries also point to this. Here is one of those:
..Braun von-Brauntal reproduces the talk with Schubert in a tavern where
Beethoven at the time was also staying, "From time to time he would take
another notebook of greater size out from his side pocket and would write in
it with his eyes half-closed. 'What is he writing there?', I asked ... 'He is
composing', the answer followed. 'But he is writing words, not music.' 'This
8
Expression of underlying meaning of compositions (1ransla1or 's no1e).
 20

is his manner: he usually outlines in words the development of ideas in one

or another musical piece and inserts between them a few notes at the most'."
According to Schlesser, Beethoven said, by the way, "... when I realize what I
want, the main idea never leaves me; it rises, it grows and I see and hear an
integral image in its full scope, standing in front of my inner sight as if in the
final cast form". ([Beethoven,] quoted m Schlesser, quoted m
Alschwang, 1952,p 197).
The second movement is composed in sonata form. In the simple but
expressive relief of theme there is something in common with a famous
melody of the flute in the scene "Elisium" from the opera "Orpheus" by C.
Gluck. One cannot help notice how much Beethoven's second movement is
the successor to Mozart's tragic lyrics in his Lacrimosa (Requiem). There is
an overt similarity in measures 7-8 to the intonation of Lacrimosa (Requiem).
The combination of Gluck's austere simplicity and Mozart's softness of
melodic development constitutes the particular brightness of this music. The
melody is replete with passages that heighten its expressiveness.
"Beethoven lacked the tact of Mozart and Haydn in pathetic expression.
Nothing so powerful and so full of tragic passion, doubtless, had been
attempted in a quartet slow movement, nor anything buttressed with so
sophisticated and integral a technical command. Beethoven had learned or
taught himself amazing things by 1799. What he had not yet gained was the
full resource of feeling needed to justify the full, raw employment of the
traditional rhetoric or the minor mode. The problem remained with him up to
the 1820's, to the time of the Piano Sonata in c minor, op.111, the Ninth
Symphony, and the Quartet in a minor". (Kerman, 1967, p42).
The first section (measures 1-13) is constituted in the form of a broad
half-phrase (the first violin theme), the transition begins as the second half-
phrase of the first section (the theme is heard on cello). However, already in
 21

measure 17 thematic development is handed over to the first violin and

modulation moves in the direction of the key dominant of F major. The
secondary area (measures 26-38) to some extent clarifies the murky colouring
of the beginning of the second movement. It is stated in the form of a
dialogue between the first and the second violin. The secondary area
(measures 26-38) is constructed in free form where two sections can be
singled out: the first (measures 26-29), characterised by homophonic
texture constitution; the second (measures 30-38) is built on imitational
polyphonic movement. The closing area (measures 38-45) strengthens in
the thematic imagery, the quality achieved in the secondary area.
In the development section (measures 46-62), after the first two
measures in which the material of the secondary area is stated, the first
section in g minor is almost entirely played by viola and second violin. By
means of effective and dramatic passages of the first violin , dynamics of
sound occur which lead to a sharp drop at the end of the development section.
In the first section of the recapitulation (measures 63-95) the alarm is
sounded. This affect is achieved by the figuration in small note values for the
viola and the second violin (first sixteenth notes, then thirty-seconds). The
transition is omitted, and the sphere of the secondary and the closing areas
repeats the material of the exposition in the G major, measures 95-110 - the
coda, where the principal d minor returns. In the first six measures there is
the setting of the beginning of the first section by cello. The passage is
characterised by great expressiveness, with contrasting dynamics. The
closing section is the "tragic denouement" (remember the programme idea of
the movement)
The third movement Scherzo, light and gracious, is neutral in images. It
has a frankly intermediate character. This is typical of almost all scherzos of
op. 18, as well as scherzos of other Beethoven cycles of that period. The
 22

beginning of the trio is interesting, built on unison octave leaps which also
occur in the further setting of the trio. The movement is composed
traditionally in a compound ternary form. The first part: the opening period -
10 measures, middle part - 26 measures, then varied repetition of the opening
period - 14 measures, and addition to it - 35 measures.
The form of the trio is: the opening period - 16 measures, the middle
part - 16 measures, the open-ended recapitulation - 28 measures - which
moves without a caesura into the repetition "da capo" of the scherzo.
Obviously, Beethoven's understanding of "games" and "jokes" of this
type was associated with free formation of the (form) parts, irregular
distribution of the number of measures between more significant and less
significant sections.
The opening of the finale (A !Legro, rondo-sonata) is heard in advance in the
scherzo. The rhythmic im petus in the refrain is reminiscent of a tarantella.
One should note the elegance of the contrasting tripl et and duple rhythms.
The refrain (first section) is built in the form of repeated formations
(measures 1-18); the second half-phrase with expansion. If the formation of
the first section is traditional, the setting of the thematic material which
follows is fairly free. The transition demonstrates an imaginary tripartite
form. Conventional first part - measures 19-26, and conventional third part -
measures 34-42, almost duplicate one another in the material, although
functionally they are absolutely different. The first part (F major) continues
the sphere of the first section, and the third part (d minor) implements it in G
major (dominant to dominant). Between these two parts there is a fairly
bright contrasting theme which takes on the function of the imaginary middle
part.
The secondary area (measures 43-58) is short, has uneven character of
setting and there are no obvious cadence points. In many respects its tonal
 23

structure plan contributes to it: G major - C major. The beginning of the

theme in G major, which at that time was considered fairly far from F major,
sounds quite atypical. Clearly, there is reason to suppose that the function of
transition to the dominant key is performed by the secondary area itself. The
key plan affected also the structure: the secondary area represents two links
of sequence.
A fairly long closing section (measures 59-87) starts as if it is the
continuation of the secondary one. The type of setting points to the fact that it
is the closing area, namely small (of a few measures) formations
strengthening the C major tonality. However, Beethoven again decorates this
section of the form with something special. Beginning from measure 79 in c
minor, a short theme is introduced which not only attracts attention to itself
but is also designed for further development in the development section.
The bridge (measures 87-90) leads to the traditional refrain at the border
of exposition and development; measures 91-98 are the refrain in the form of
one half-phrase. Starting with measure 99 the development begins as the
second half-phrase of the refrain. In the development two waves can be
singled out. The first one ends at measure 159, the second one - measures
160-235 . Both waves have similar structure. The first comprises: the
development of the first section theme, including the polyphonic one
(measures 110-115), dialogue of the secondary area, stated in the reverse
(inversion) in counterpoint with the first section (measures 117-131 ), the
theme from the closing area in inversion (measures 137-144 and 153-159).
The second wave is built from the secondary area in counterpoint with the
first section, then comes the section where the theme from the closing area is
continued and then the transition to the recapitulation on the material of the
first section.
The recapitulation (measures 236-323) starts with the refrain in the more
 24

dynamic variant; up to measure 324 the material of the exposition is repeated

(certainly, with transfer to the secondary area in C major - F major);
measures 324-327 are a short bridge which is characteristic for a rondo-
sonata, and from measure 328 the coda starts. This can be considered as an
expanded variation on the refrain.
 25

Quartet No 2, G major
While the whole image of Quartet No. 1 F major is energetic and
concise, Quartet No. 2 pays a certain homage to elegant high life style, from
which Beethoven was not immune in his younger years. It is not by chance
that this quartet was given the name of "Komplimentier-Quartett". It refers
first of all to the first movement, abundant in melodic "flourishes" , exquisite
elegance of pauses, and "dotted" rhythms. Nevertheless, on the whole the
quartet in G major is immeasurably far from what could be called a "high-
society trinket". "It can be supposed", Romain Rolland writes, "that Quartet
No.2, as well as No. 5, is an imitation of Mozart and Haydn (a very
successful imitation) rather than a free utterance. But at other times we see
how the face of fashion is being erased; from the deep a great image arises, a
mighty shadow: Shakespeare IS coming". ([Rolland,]quoted m
Davidyan, l 994,p264).
"The first movement Is Beethoven' s clearest attempt to press his
personality into the comedy of manners which Haydn had discerned as the
potential essence of the classic style" . (Kerman, 1967, p 44 ).
The first movement, Allegro is written in sonata form. The first section
(measures 1-20) presents a period of repeated figures. The second half-phrase
of the period features expansion. In thematic respects the first section
consists of three elements: the first with a virtuoso step of thirty-seconds of
the first violin, the second a gallant" step in the "dotted" rhythm in chordal
tones, while the third is a cadence inversion. Such rich content of the first
half-phrase, as well as its cadence inversion in the tonic (which is not typical
of the ending of this type of formation) is explained by the fact that it
simultaneously performs the functions of introduction and conclusion, as the
first movement ends with precisely this mus ical fragment.
 26

The transition (measures 21-35) presents a step modulating into the

dominant D major: a strong willed motive, ascending by a fourth, in unison
in the f-dynamics in the low register is opposed to an agile motive in high
register.
The secondary area (measures 36-61), counterbalancing the galant first
section, has an heroic character peculiar to Beethoven's music in general
(accents, abrupt changes of dynamics, ascending movement by a fourth, etc.).
However, in the expansion (the end of the second half-phrase, from measure
51) the heroics suddenly change to sentimental lyrics with sighing motives.
As we can see already, in the first movement of this on-the-whole, buoyant
composition, subtle changes of inner states are observed.
The closing area (measures 61-81) is on the whole quite traditional. Let
us only point to the last four measures where the cadence inversion from the
first half-phrase of the first section is reproduced in D major. The
development section (measures 82-144) begins with the same inversion in d
minor. In this section there is successive development of the transition, first
section (with the moti ve connected with the dotted rhythm acquiring special
significance), then again the transition (quite intensive).
The beginning of the recapitulation (from measure 145) is dynamic. The
melody of the first four-measure of the first section is first played by the cello
in the high register, and only after that - once more by the first violin. It is
worth noting that the harmonic parts of two other instruments move much
more animatedly than in the exposition, and the imitation arises between the
first and the second violins. In the recapitulation the first section has the form
of a half-phrase because the transition begins as the second half-phrase. This
area is built on the material of the first section and is completely different
from the exposition. Such substitution happened, apparently, because the
thematic material of the former transition was "exhausted" in the
 27

development. It is like a bright, colourful spot when in the middle of the new
transition the material of the first half-phrase of the first section sounds - pp
in E major (measures 170-176). From measure 187 a recapitulation block "
secondary area - closing area" is rewritten traditionally without considerable
changes in G major. In the coda (from measure 233), after three stops (with
fermatas) on a seventh chord, the aforesaid first half-phrase of the first
section appears, performing the function of a conclusion.
The second movement, Adagio cantabile, in C major, 1s written m
compound ternary form with a contrasting middle part unexpectedly stated in
Allegro tempo. It continues the tradition of Mozart's major Adagios in sonata
form. The comparison of Adagio and Allegro contrasting sections, so typical
of Beethoven's mature Quartets ( op. 7 4, op. 130) are used here in the quartet
genre for the first time The outermost parts are characterised by the
melodiousness of cantilena acquiring with the improvisation-like, flexible
style of play. Such character of the music has influenced its structure: small
and larger parts of the form are different in size, and asymmetrical
construction of phrases and periods.
The first section of the second movement is constructed in a simple two-
part form. The opening period (measures 1-14) - the first part -consists of five
phrases: 3+3+2+2+4 measures. The closing phrase modulates into the
dominant G major. The second part consists of a central section of a
developing type (measures 15-18) and a recapitulation section (measures 19-
26), the closing motives of which anticipate the basic Allegro. The Allegro
(measures 27-58) is in simple ternary form with a development in the central
section. The Allegro itself, unlike the outer sections, is stated by even
movement in sixteenth notes. It comprises the features of imitational
polyphony and has an absolutely symmetrical construction (all three sections
have exactly 8 measures each). Measures 27-28 are the introduction to the
 28

main part of this section, and measures 54-58 are the transition back to the
initial Adagio. The Adagio recapitulation presents an exact repetition of the
initial section, richly decorated with virtuoso passages. Noticeably
reinterpreted is the cello part which enters into a free improv ised dialogue
w ith the first viol in.
Scherzo. (Allegro). It is reminiscent of a merry minuet in Haydn's style.
Its main theme (measures 1-8) seems woven from separate linked motives on
the first v iolin, "filled in" by the remarks of the second violin.
The scherzo is traditionally written in a compound three-part da capo
form. If it be compared with the scherzo of the First (F major) Quartet, the
forms of that Scherzo, due to its dance basis, are more symmetrical in
particular, the opening period of the first part, the middle of the first part, the
opening period in the trio. As fo r other sections, the form is built more freely,
and can be considerably expanded; For instance, the recapitulation section of
the first part lasts 27 measures, on account of the expansion of the second
half-phrase of the period and the introduction of two additions (measures 30-
38 and 38-43).
For the interpretation of the finale (Allegro molto quasi Presto) what is
important is the subtle communication of the changeable mood of the main
theme. The noble softness of the tone, unconstrained manner of expression
that are peculiar for its initial setting, are given a resolute, imperative
character by the contrasting changes of dynamics and accentuation.
The character of the first section (measures 1-28) resembles Lied genre. The
closeness to this genre is shown by the concise and clear strophic form of the
themes, diatonic melodic structure, "coloured" in some cases with transitions
typical of folk-art. In this case the phrases of the "soloist" are answered by
unanimous choir cues.
The song form has also influenced the structure of the first section: the
 29

first phrase - 8 measures (G major - D major), the second phrase -8 measures

(D major - e minor), four measures - bridge (transition into G major) and
closing area - 8 measures, G major. As a result, what emerges resembles a
simple three-part song form. In the transition (measures 28-55) we note a
spectacular statement of one phrase of the first subject ind minor by the cello
(measures. 38-45) which prepares the contrasting appearance of a second
subject in p dynamics in the form of an elegant dialogue of two violins.
The second subject (measures 56-111) is fairly spacious and is rich in a
lot of musical events. After the first four-measure set; as said above_ in the
form of a dialogue of two violins, in the following four-measure a viola is
added. And the second half-phrase, from measure 64, is set in the form of
paired "chats": the first and the second violins answer viola and cello. At the
moment corresponding to the expansion of the first half-phrase, the character
of the music changes (sf sounding from all four instruments). The
development of the second subject leads to appearance of a new thematic
element, a short two-measure motive, built on the sound diminished seventh
chord and the dominant seventh chord (measure 76). The material based on
this motive, is of a particularly unstable character but the appearance of
chords is delayed. In measure 96 in the harmony of the dominant to remote F
major, yet another, third, theme appears which at last leads to the required D
and after an "impressive" trill completes the second subject.
De Marliave wrote "He [Beethoven] obtains curious little effects by the
inversion of the three notes: [bars 76-77]. He sets the two figures of the motif
against each other with infinitely varied effect, m diminutions,
augmentations, and unexpected turns of harmony, like the modulations from
G minor to A flat major, after the momentary lull in the sustained chords of
the second section". (De Marliave, 1961,p 17).
The closing area (measures 112-139) is constructed first on the material
 30

of the first section and then, from measure 122 - on the material of the second
element of the secondary area, this time in the form of inversions of major
triad.
The main "personage" in the development section is the first subject.
According to its main statements the key plan of the development is : E flat
major - C major - A flat major, thus outlining the triad of the flat second in
relation to the principal key. So, the beginning of the development section is
the statement of the first section theme in E flat major (measures 140-147).
Then on the material of the transition area a fairly dynamic transition follows,
thoroughly preparing the C major and in measures 179-197 the first section is
stated in C major. After a small juncture in measure 215, the second element
of the secondary area appears on the material of which the transition to the
beginning of the first section in A flat major is built, measure 135.
Practically without any special transition, the recapitulation (measure
24 7) begins. Compared to the exposition, it is not changed much: the tonal
contrast has been removed, the setting of the first section is decorated with a
counterpoint in the first violin part, there are insignificant rearrangements of
parts in the statement of the first section of the secondary area (measure 310).
At the end of the recapitulation and at the beginning of the coda Beethoven
introduces a clash between the second thematic element of the secondary area
and the beginning of the first section. By means of rhythmical variation_the
composer shows the inner kinship between these two motives (movement
along chordal tones). The quartet finishes with multiple affirmations of the
initial motive of the first subject.
 3I

Quartet No 3, D major
In the Third Quartet (D major) - which is actually the first - some non-
independence of quartet writing is noticeable (Beethoven was making just the
first attempts in this genre), which tells on the prevalence of homophonic
setting and on an exclusive predominance of the first violin. However, his
mastery of quartet texture is already quite perfect, the sounding is clear and
beautiful. This composition is strikingly uniform in the quality and
development of the material. The smoothness and perfection of the musical
texture may probably be explained by the fact that in his first experience of
quaitet music Beethoven does not yet "show his claws" (R.Rolland) as it is
felt in later compositions, but follows brilliant patterns created by his
predecessors Haydn and Mozart ([Rolland,]quoted m
Alschwang, I 952,p36).
The first section of the first movement (Allegro), in spite of a fast
tempo, has broad cantilena character. Especially expressive and melodious is
the opening motion - a rising minor seventh. Probably, from such melodic
character the asymmetry of construction in the first section follow: the first
half-phrase - 10 measures, the second half-phrase (it begins with an
imitational statement of the opening turn in the v iola and the second violin) -
17 measures; the second half-phrase is expanded also owing to free
improvisational development in the first violin part.
"The beginning of this Allegro, with the theme opening on the dominant
of the key, was considered very audacious. The usual practice of the period,
elevated to a definite rule by certain theorists, was to begin a work in 'sonata
form' on the tonic" .(De Marliave, 1961, p 18).
The transition consists of three sections and is characterised by quite a
long time in the main key at the beginning and a sudden modulation at the
 32

end. The first section (measures 28-35) is in its character additional to the
first section. The second section represents the transition theme proper
(measures 36-45), characterised by elegant triplets and syncopations in
Mozart's spirit. The third section (measures 46-56), in a tonal-harmonic way,
forestalls the secondary area.
The fourth section (measures 57-67) introduces A major but it cannot be
interpreted as the beginning of the secondary area, as it does not feature rich
thematic material (the first violin figuration does not introduce anything new
compared to the preceding exposition course). It is structurally unsteady and
partly repeats the material of the preceding section. Its main function is to
prepare the appearance of C major, since it is C major in measure 68 where a
new and bright thematic material appears, the secondary area proper. It is set
in choral-type texture and moves along C major (the first four measures), a
minor (the second four measures), and A major (the closing section up to
measure 90) keys.
The closing area (measures 90-107) completes the section with multiple
cadences and prepares the beginning of the development section.
In a small development section (measures 108-157) there is successive
statement of the first section (d minor), and the transition area theme (B flat
major - g-minor). The next section makes the setting dynamic. It achieves the
culminating point (measures 154-156) on the dominant inf sharp major, after
which the sound fades and in the lower register of viola and cello a sustained
c sharp remains. In that way, it is not the dominant of the principal key that
sounds at the end of the development section (as would be more habitual) but
the dominant of the third degree. As a result, D major in recapitulation
sounds unexpectedly, as if gradually getting free from the functional system
of f sharp major.
 33

The field of the main and transition themes in the recapitulation are
subjected to abridgment. Thus, the first section is only represented by one
tonally broken half-phrase D major - b minor. The second half-phrase
belongs to the transition area and after it (the transition area theme is omitted)
a section comes that prepares the main D major. Here (from measure 182 to
measure 23 7) comes an exact repetition of the corresponding material of the
exposition. In the coda (measures 238-268) successive setting of the first
section theme (g minor)_ the secondary area theme, and again the first section
theme remain key.
The second movement, Andante con moto, is in B flat maJor. It is
interesting, that already in his First Quartet Beethoven composes the slow
movement in sonata form (more precisely, in rondo-sonata, with some
peculiarities which will be discussed below). This movement is calm and
contemplative mood, it is a sort of culmination of the cycle.
"This slow movement, in B Flat major, is much longer than any Adagio
of Mozaii's and than most of Haydn's. By an innovation of his own
Beethoven thus makes the slow movement with its extended development the
central point of the whole work". (De Marliave, 1961, p 20).
The first section presents a period of one whole formation with repeated
first four measures. The repetition is caused by the fact that the first four
measures of theme are first performed by the second violin and then - by the
first violin one octave higher.
The transition area (measures 13-22) consists of two sections: the first
one, neutral in material, leads to the dominant of F major on which the
second section is built, which prepares an elegant secondary area (staccato
stroke, decorative passages in thirty-seconds.
In the secondary area two sections are clearly singled out: the first one
(measures 23-29) is characterised by transparency, lightness, muffled
 34

sounding (pianissimo); the second one is heavy, solemn sounding (fromforte

to fortissimo).
From measure 3 7 the closing area begins, built on the material of the
first section. In measure 43 it flows into a junction leading in measures 47-62
to the statement of the first section (which is rondo-sonata refrain) and of the
first section of the transition area.
The development (measures 63-89) begins with the statement of a new
contrasting theme (eight measures in e flat minor - E flat major). Then
follows the developing section where the material of the first section is
actively developed.

The recapitulation begins in measure 90 with the second section of the

transition area (the first section is omitted) and fully repeats its material
(transposed to B flat major) up to measure 109. In measure 110 instead of a
closing area the first section-refrain appears. An unexpected entry (measure
120) of quivering sextuplets, emphasized by a sf at the beginning of each
half-measure signifies the beginning of the coda. The sextuplets and the
material of the beginning alternate twice (the first time the material is set in
canon form). The fading , melting ending of this movement anticipates some
late compositions of Beethoven for example, the Adagio of Quartet No. 10.
The third movement, D major, is only indicated by the word 'Allegro'.
Whether it is a minuet or a scherzo in its genre, is not specified. If one
considers the form in general outline, it seems to be constructed after old
fashioned patterns, with the alternation of major key (minuet) with minor one
(trio). However, in the character of statement the outmost parts are very close
to those scherzos that were considered in the First and the Second Quartets.
The eight-measure opening period (in this case modulating from D major into
f sharp minor) is included in a simple two-part form (the middle section
occupies only four measures) with a fantastically extended recapitulation
 35

(measures 13-62), by means of of expanding to measure 33 and the addition.

Contrasting in mood, the trio has an open-ended structure, the opening
period (12 measures with repeated half-phrase, d minor) modulates to a
minor. In the development section the material of the first half-phrase and the
opening period is repeated twice: in c minor and g minor. The recapitulation
section repeats the same material with a stop on the dominant to d minor-D
major, after which comes the juncture before almost identical repetition of
the first part.
" At the repeat of the Minuet, Beethoven makes his instinct for
innovation felt, and sets the second repetition of the them at the octave."
(De Marliave, 1961,p 21)
The finale, Presto, 1s written m sonata form and is close in style to
festi ve, folk music in its nature (the fast 6/8 movement suggests the
tarantella) as in Haydn's finales.
The first section of the finale consists of two introductory formations on
the same material , four measures each (the first one - solo of the first violin,
the second one - the first and the second violins (in thirds) and a period of
two half-phrases (8+ 10 measures). In measure 27 the transition area begins
which consists of an addition to the first section (measures 27-34), a
modulating section (measures 35-41) and a section anticipating the secondary
area (measures 42-55)
The secondary area (measures 56-96) does not bring about any principal
contrast of either thematic or movement nature. Structurally, it is formed in a
quite traditional way: the first half-phrase is 8 measures + the second half-
phrase with a considerable extension, up to and including a section in a
remote F- major on relatively new material (measures 80-86). The closing
area (theme is first stated by cello, then by the first violin (measures 96-
11 4) ).
 36

The development begins after a small bridge in measure 121. Its first
section is built on the development of the opening motive of the first section
(from the introductory formation). From measure 178 cello starts developing
the secondary area. At the same time in the second violin part relatively new
material appears. After a thrice-repeated statement of this combination in b
minor, a minor and G major, in the development a section comes which
anticipates the beginning of the recapitulation (movement to dominant of the
main key, measure 195).
The recapitulation from measure 216 precisely on the whole, reproduces
the exposition material (with a corresponding tonal plan of the secondary
area: D major - B flat major - D major). From measure 324 a small
expansion of the closing area follows that serves as a more fundamental
completion of the whole composition.
"Despite its correct and academic form , it has a certain individual
quality , especially from the opening of the second section to the return of the
principal theme, curiously introduced by a long smorzando" . (De Marliave,
1961 , p22).
 37

Quartet No 4, c minor
Quartet No. 4, c minor stands apart among the Quartets op. 18, being the
only one composed in a minor key. Along with the First Quartet F major, this
one presents the most significant achievement of Beethoven in op. 18.
"This quartet is the most polished work of Op. 18, and one of the most
advanced in style of Beethoven's early manner". (De Marliave, 1961, p 22).
The quartet received the name "Pathetic". Among quartets it occupies
the place analogous to that of Pathetic Sonata among piano sonatas. R.
Rolland wrote, "Here is something rumbling behind the door; he breaks it
open, letting in a magnificent Allegro from Quartet c minor: this is young
Beethoven, wrathful Coriolanus. The public was not mistaken there - the
quartet created as exciting an impression on the youth, as the 'Pathetic'
sonata" ([Rolland,]quoted m Davidyan, l 994,p268). R.Rolland was
confirming that the youth were impressed by his Quartet as a "Pathetic"
sonata.
It also occupies a prominent place in the group of c minor compositions
of Beethoven of the early Vienna period (Piano Trio op. 1 No.3 , Piano
Sonatas op. 10 No. l , op. 13 , the Third Piano Concerto, Sonata for Violin and
Piano op. 30 No.2). The same group can, to a certain extent, also comprise
Piano Sonata op. 2 No. l written in a close f minor. As is known, in that
period these keys served for Beethoven for expression of "rebel" mood.
Many researchers believe that Beethoven's state of mind in the period of
composing this quartet is quite clearly characterised by one of his letters.
"You can hardly imagine" the composer writes to W. Wegeler in Bonn on
16th November, 1801, "what a lonely and sad existence I was dragging out for
the last two years. Like a ghost, my weak hearing was haunting me
everywhere, and I avoided people, had to appear a misanthropist, though in
 38

reality it is so little my way.

The change that has occurred to me now, has been brought about by a
sweet, wonderful girl who loves me and is loved by me. After two years-
again a few bright moments, and lo and behold - I felt for the first time that
marriage could make me happy. Unfortunately, she is not of my estate
[class] 8, and now, certainly, it is absolutely impossible for me to marry; I still
have to wander about a good deal. If it were not for my hearing, I would have
traveled round half a world, and it is necessary for me to do it - since for me
there is no higher delight than to be occupied with my art and to show it."
(Letters, 149), The adduced extract from the letter quite well reveals
Beethoven's innermost emotional experiences in which there happened a
clash of tragic feelings connected with the aggravation of deafness, the uplift
of creative power, the joy of love and the obstacles in his way to happiness.
"This opening passage is one of the first examples of Beethoven ' s melodic
gift, broad and powerful, expressive and yet uncomplex. Neither in Haydn
nor in Mozart could a period so virile be found , so profoundly imaginative
and emotional. In Mozart's G minor quintet the opening bars are of similar
cast, but less moving and less intense". (De Marliave, 1961, p 24 ).
Of interest is the image of the first section of the first movement
(Allegro ma non tanto ). The contours of the melody are in Beethoven's way
energetic but the activity of the motives is softened by the introduction of
ascending turns, seconds in suspension. The theme is imparted with
considerable internal movement owing to broad phrases, and plenty of
suspensions. In its form the first section presents a period of indivisible
structure (measures 1-13).
The transition goes through a few quite unusual phases. The first of
them (measures 13-17) is an energetic, even aggressive juxtaposition of tonic
chords and the dominant in fortissimo. Then comes a more mobile section
 39

(measures 17-25), the impulse for which comes from the motive of the first
section (with the first violin) and the motive anticipating the secondary area
(with the second violin and viola). It ends with the dominant triad to c minor.
The third section A flat major - E flat minor (measures 26-33) is the theme of
the secondary area proper, smoothly leading to the secondary area.
The secondary area (measures 34-70) is as if growing from the motive
of the first section, which is not infrequent with Beethoven (let us remember
just Piano Sonatas op. 2 No. 1 and op. 57, ttAppassionata"). The theme has a
classical structure: the period with the first half-phrase (8 measures) and the
second one greatly expanded by lively movement and introducing a re latively
new thematic material (measure 53). In measures 33-35 the theme performed
by the second violin, has an excited, anxious character. In the opening
phrases of the theme the pauses of the first violin a lternate with li vely cues
"filling in" the theme. But then the theme, slowly thawing away in a more
dull register, is graduall y overshadowed by the second part for the first violin
in the high register E string. Of great interest is a short closing area (measures
70-77) built on the contrast of unisons with pianissimo staccato and
fortissimo chords.
The development of the first movement of the quartet is not typical of
the development of a dramatic Beethoven Allegro. The themes of the
exposition preserve their succession and duration, the completeness of the
structure, developing harmonically and polyphonically, which brings out
the lyrical qualities of the composition. In measures 78-90 there is the first
section statement in g minor, in measures 91 -105 there is its motive's
development, in measures 106-111 there are the second and the first (in
abridged form) elements of the transition area, in measures 112-127 there is
the secondary area in F major - f minor, first with cello, then with the first
violin, in measures 128-13 5 there is a small section on c minor dominant,
 40

anticipating the recapitulation.

In the recapitulation the whole first section is set out, then in measures
148-15 7 there is an expanded variant of the first element of the transition area
(active juxtaposition of chords). The second and the third elements of the
transition area are omitted_ and from measures 158-201 the secondary and the
closing areas are set in C major. The coda, starting with the statement of the
beginning of the first section in D flat major, summarises those dramatic
tendencies that were set out in the whole first movement.
The second movement, C major, is very interesting both in its form and
content. It is indicated as scherzo but the tempo is not so fast (Andante
scherzoso quasi Allegretto). Written in sonata form and substantially
developed polyphonically, it definitely falls out of the group of scherzos and
minuets of op. 18. This scherzo was composed in 1800. In the opinion of
A.B. Marx, the music of this movement "is distinguished by its serious and
resolute character, and although from time to time there, one or another joke
is heard, this is done on purpose, in order to conceal serious thoughts of the
composer."([Marx,]quoted in Dolgov, 1980,p 42).
The first section of the second movement 1s set in the form of the
exposition of a four-part fugue (the length of the fugue is five measures). The
order of the entries is the second violin (in the tonic), viola (in the dominant),
the first violin (in the tonic), and the cello (in the tonic, incomplete
statement).
A more or less fugal setting is preserved up to measure 20, where the
first section of the transition area begins, which is set in homophony. The
second section of the transition area from measure 33, built on the material of
the first two measures of the first section, presents an inexact four-part canon
with one-measure interval between entries, ending on the dominant, G major.
The secondary area (measure 43) begins in the form of a two-part
 41

canonical sequence by the first and second violins. The second half-phrase of
the secondary area is the setting of the same sequence but with duplication of
the third of one of the parts. As in the first section, by the end of the
secondary one, polyphony is substituted by homophony. The closing area
(measures 68-82) built on the motives of the first section, is characterised by
free polyphony.
A short development (measures 83-145) consists of three sections, of
which the first two (built correspondingly on the material of the second
element of the transition area and the closing area) are again connected with
polyphonic work. The third section prepares the recapitulation.
The setting of the principal area in the recapitulation resembles the
recapitulation section in a fugue when there is simultaneous sounding of all
(or almost all) parts. On the whole the recapitulation repeats with some
di gressions the exposition up to the coda (measures 229-261 ), the climax of
which presents the statement of the principal area theme in a homophonic
variant.
As far as the second mo ve ment is concerned, it must be said that here
Beethoven implemented the synthesis of two forms: sonata form and fugue
form (forms of this kind are sometimes found in the qua11ets of Haydn and
Moza11). Here Beethoven also anticipated the forms of his compositions of
his later period, quartets and piano sonatas.
The dramatisation of this movement had caused the innovative changes
m the conventional arrangement of parts. The second movement,
traditionally of the lyric and contemplative, or philosophical character, in this
case is replaced by Scherzo. Beethoven keeps the traditional contrast of
tempi between the first and the second movements (Allegro-Andante), which
give Andante-Scherzoso a particularly individual character of the "slow
Scherzo". This has a profound meaning - the artist hides his sorrow under a
 42

mask of lively and good humour.

The vigour of the first movement finds its continuation in an original
minuet (the third movement, Allegretto, c minor). There is similarity of
phrasing between the first movement and the minuet, thereby creating a link.
Connected in phrasing with the first section of the first movement, the main
theme of the minuet is characterised by greater severity and conciseness the
shade of sentimentality, characteristic of the opening movement of the
quartet, disappears. Special colouring is brought about by rather deliberate
accentuation of the third part of the bar. The outmost sections (da capo
forms) are written in simple ternary form with the middle section of
developing type. The development section is characterised by dramatic
quality: tense organ points, chromatism in ascending melody lines. The
middle section and the recapitulation are, as usual, expanded.
The trio construction is close to an ancient two-part form. Its first
section presenting a period of indivisible structure, has the A flat major -E
flat major tonal plan. The second section, the same in the music material, has
the opposite tonal plan: E flat major - A flat major. Let us note also the
triplet movement of the first violin which enlivens the musical texture and
contributes to the deepening of the contrast of this soft and light musical
fragment in relation to the outer movements.
The finale, Allegro, is written in rondo-sonata form. In its character it 1s
close to the third movement of the "Pathetic" Piano Sonata by Beethoven
and, especially, to the finale of the trio G major by Haydn.
"The emotion of the first Allegro and the unrestrained passion of the
finale form together the most expressive contrast possible".(De Marliave,
1961 , p 30).form the most expressive contrast, similar to such compositions
in c minor, as the Sonata op. 13, the Thirty-Two variations WoO 80, and the
Sonata for violin and piano op.30. The level of dramatisation and evenness
 43

of the development of the entire form of this work surpasses all earlier
compositions in the same genre.
The finale is, probably, closer to rondo form than to sonata form, as it
consists of a peculiar technique of juxtaposition of different characters and
quite self-sufficient fragments, indicated by repeat signs. Besides, the main
sections (for example, the first section, the secondary area) have a structure
which is more complex than a phrase. The first section (refrain) is a model of
active, dynamic music, imparted with enormous inner energy, it is built in a
simple two-part fo rm (measures 1-16, c minor, both sections are repeated).
The transition area is absent.
The secondary area is a simple ternary form (the openmg period is
measures 17-24, A flat major, repeated; the middle section of developing
type and the recapitulation - measures 27-40, repeated) is to a greater extent
contrasting to the first section and is characterised by smooth, quiet
movement. The theme itself is set in the second violin part. In the middle
section the development is connected with the introduction of polyphonic
texture - free imitation wh ich fo r a short while breaks the balanced chord
constitution of the section. The closing area is absent.
The refrain statement before the development is in measures 41 -72. The
repetition is given for the sake of insignificant variation . A short
development-episode (measures 73-86) presents two repeated sections of
retrograde character on the same material with C major and G major - C
major tonal movement. Its musical material consists of two elements:
continuous tones with anticipatory grace notes and descending direction
which represents a certain "development' of the themes of the first section 87-
110. Only after that, the signs of the recapitulation disappear and musical
setting acquires the sonata form. A short juncture (measures 111 - 116) leads
to the secondary area in the main key (measures 11 7-13 7), considerably
 44

varied compared to the exposition, in particular, in the second violin part

from measure 124 a lively movement of eighth notes appears, and the
motives from the refrain penetrate into the melody structure.
From measure 13 7 developing motion begins on the refrain motives,
which prepares the coda, starting with measure 163 (Prestissimo ). In the
coda the refrain is introduced again, and the musical setting acquires a
pronounced closing character. A distinguishing feature is the coda closing in
C major which anticipated future clear finales of Beethoven, for example, in
the Fifth and Ninth Symphonies.
 45

Quartet No 5, A major
This quartet continues the line of the light, sunny art of Mozart (there 1s
similarity with his piano sonata A major, K. 331 ). A joyful, vivacious Allegro
in 6/8 meter, with a minor secondary area, a gracious minuet, lyrical
variations with the theme in Andante cantabile tempo and a fast energetic
finale comprise the cycle of this quartet, distinguished by the clarity,
harmony of mood, the unity of tonal colouring (the I, III, V motions in A
major, the II motion in D major).
It is characteristic of Beethoven in this quartet to depart from Mozart's
image, which is manifested in a greater freedom of pai1-writing, key shifts
and rearrangement of two middle movements owing to which a clear contrast
between a slow third movement and the finale arises. It is remarkable that the
climax of the cycle is placed in the "golden section" zone (in the third
movement there are variations).
"But there is a real distinction between Beethoven's stance toward
Haydn in this piece and his relationship to Mozart in the other. None of the
movements appears to be modeled on a specific work by the other compose,
as is the case with the A major, and no passages could really pass for
Haydn's work, as some could pass for Mozart in the A major. The
relationship is more original and more searching, more a matter of idea than
of material or even of stylistic detail. It is as though Beethoven were
deliberately exhuming an older, alien manner; a procedure that is certainly
not unknown in the history of music, and that becomes more and more
important in Beethoven's maturity". (Kerman, 1967, p 45).
In the first movement, the first section (measures 1-15) consists of three
sections: as always with Beethoven, an active introductory structure
(measures 1- 4 ), the period of undivided structure (measures 5-11) and the
 46

addition (measures 12-15). The structural unit is, undoubtedly, the phrase. It
is precisely there that those Mozartean features are concentrated, that the
researcher hears the elegance of themes with "galant" rests and
chromaticisms, and a tonic organ point in the bass. However, other sections
of the first section also perform important functions: the introductory
structure - that of introduction, the addition - that of material setting which
attracts special attention by the use of wide leaps of the first violin. This
technique will be widely used further on in the transition area, in the
development section.
A short transition area (measures 16-24) is built, as was mentioned
above, on the material of the first section. It is dynamically active (from p to
f) , and it serves to modulate into E major and to strengthen it; especially
emphatic in this respect are the ascending melodic movement and high-
register trills of the first violin.
The secondary area is unexpectedly set in e minor. In this movement
comes into view the innovative harmonic development: the secondary theme
appears in e minor instead of expected E major. L ater this unusual harmonic
device will become Beethoven's own idiom. The contrast is emphasised by
its dynamics (p ), unison sounding (in the first two measures), change of
register and descending movement. The form of the secondary area is a
phrase (measures 25-32) and its varied repetition with a traditional expansion
and addition (measures 33-66). The key plan of the opening phrase is e minor
- G major. During the repeat which is at first built on the same material, the
key plan is e minor - E major. In the addition from measure 43 the initial
material of the secondary area as if it were dissolving in more general forms
of movement, and the development of the music gradually leads to the climax
(from measure 56), which in this case is in Beethoven's way expressive,
embracing a broad range of sound - in the first violin's part there is c - c sharp
 47

of the fourth octave (it is difficult to imagine the same with Mozart). The
secondary area ends with an imposing cadence in E major, repeated three
times.
The closing area (measures 66-79) has a pronounced closing character
and serves as a certain neutralisation of that 'impetuous' movement that was
at the end of the secondary area.
The beginning of the development section continues the mood of the
end of the exposition. As secondary parts there are fragments of the closing
area and additions of the secondary area. In measure 91 D major sets in, and
in this key the second and the third sections of the first section are stated. The
development proper starts from measure I 03. It is built on the material of the
transition area of the exposition. Its thematic elements are developed and in
turns they are stated in the form of some dialogue by different instruments.
From measure 127 a short section begins which anticipates the
recapitulation, on neutral material, and of unsteady character.
The recapitulation starts with an exact repetition of the first section
(measures 136-150). In the transition area (measures 151-164) the changes
and development appear, which is not surprising.
It is expanded by modulation in the direction of C maJor but,
nevertheless, ends in absolutely the same way as in the exposition, with the
strengthening of E major. The zone of the transition and the closing areas
(measures 165-200), as well as the first section, exactly repeat the exposition
material, corresponding to a mmor - A major transposition. A short
conclusion coming only after the repetition of the "development-
recapitulation" section is built, of course, on the material of the introductory
section of the first section.
In the first movement, there is some static character of its composition,
in spite of the colourful beginning of the secondary area in the parallel minor.
 48

Neither main thematic elements (with the exception of the transition area),
nor sections in the recapitulation undergo substantial transformation.
Perhaps, this approach to solving compositional tasks, so alien to Beethoven,
is connected with a certain imitative character of the music of this part and
with the presence of some models (obviously, some quartets of Haydn and
Mozart) which the composer followed rather with the purpose of building on
his composition technique than to create something original, 'his own".
The second movement. The Minuet is composed in a typical compound
tripartite form with a trio. Nevertheless, it should be noted here that the
outermost sections are relatively developed as compared to a short and plain
trio introducing neither a new key (the same A major), nor, in the final
analysis, thematic contrast. Absence of contrast is to be expected, as it is
transferred into the outmost sections. They are built in the following way: a
repeated opening theme. Its theme is stated first with the first violin, then
with viola. It has a pronounced dance character and soft pastorale sound.
Here modulation from A major into E major takes place.
The middle section ( measures 25-44) already in the very beginning,
while maintaining to some extent the previous movement, shows features of
unsteadiness and dramatisation - it rests upon dominant harmonies and more
pointed bow strokes (staccato) in the first violin. Later the pastoral character
gives place to a "pathetic" style, and after a short modulation into c sharp
minor on the tonic organ point (the "c sharp" - sound of the octave with cello)
comes a theme: tragic in Beethoven's manner.
The recapitulation of the initial structure comes unexpectedly after a
measure-long rest. It is slightly expanded, tonally changed (the opening
phrase modulates from A major to D major, then comes back to A major).
The trio is composed in a simple tripartite form. Some elegant contrast
is already laid in the setting of the trio theme, the third beats of which are
 49

performed sf However, the dance quality and light character of the music are
for the trio only, supplementing the general pastorale picture set in the
outermost movements.
With the third movement, Andante cantabile, the short scores date from
1798-1 799. This movement is written in the form of variations. Variations
were a popular, favourite genre in the 18th century. They appeared like
"discourse on a subject". First the theme was presented - a composer's own or
one borrowed from popular operas, songs, marches, etc. Then the composer
produced a number of its variations of different character. Beethoven loved
this genre very much and did not part with it during all his compositional
career. The predilection for variations is in the direct connection with the
tendency of Beethoven's creative thought to develop the theme taken to the
fullest and most diverse way possible, to modify it, to elicit the maximum
possibilities intrinsic in it.
"In the Andante cantabile of the quartet in A, Beethoven raises the
character of variation-form to a higher level; a certain harmonic basis only is
retained, upon which to erect a new melodic structure; thus each variation is a
new creation with an individual rhythm, melody, and expressive power". (De
Marliave, 1961, p 35).
In this movement a string of images and moods ranges from moving to
heroic ones. The development bears some features of symphonic
transformation of the main theme
The theme is set in a simple bi-partite song form. The music in the
initial period has a thoughtful, contemplative character. Melodic movement is
wave-like and for the most part consists of conjunct movement from f sharp
of the second octave to a of the first octave and back. The tessitura
development takes place only in the development section of the second
movement and results in the recapitulation section sounding an octave higher.
 50

The first three variations correspond, in their structure on the whole, to

the above-mentioned form, the main distinctive features being the
preservation of the structure's scope and its t?nal-harmonic plan, as well as
gradual use of smaller and smaller note values (the principle of diminution).
So, if in theme the texture consists, on the whole, of eighth notes, it consists
in the first variation, correspondingly, of sixteenth notes, in the second - of
sixteenth notes-triplets, and in the third - of thirty-seconds.
Each of these variations is endowed with individual features. Thus, the
first variation is built with active use of polyphonic devices; its opening
phrase resembles the exposition of a fugue (certainly, in the broad
interpretation), and its middle section - a double canon.
In the second variation the melodic part is performed by figured triple
movement. In its character it is an effective solo of the first violin against the
background of modest accompaniment of the other instruments.
In the third variation_on the contrary, the first and the second violins
(these are g iven the task of figuration with thirty-seconds) move to the
accompaniment, and the melodic part is performed by the dialogue of viola
and cello.
The fourth variation is also in a certain sense traditional. It corresponds
to those variations of classical variation cycles where at the return of the
character of the theme movement and general contour, its re-harmonization
occurs, as a rule, into the minor with the same key-note ( or major, in minor
variation cycles). However, here Beethoven acts in a different way:
preserving the general key of A major of the theme (the variation starts and
ends with it), he performs re-harmonization: the opening period modulates
into f sharp minor; the influence of f sharp minor is appreciable also in the
recapitulation section of the second part of the variation.
The fifth variation is the finale of the cycle, that is why its form 1s
 51

enlarged up to a compound tri-partite one. As is customary in this part of the

form, in its musical texture there are indications of summing-up all the
preceding musical events of the cycle, as well as the transition to a new level
of quality. A clear evidence of this is the first section of the final variation,
corresponding in form to all other variations. The note values by which the
theme is set, are sixteenths and thirty-seconds (which is a kind of synthesis of
development principles in the first and the third variations). The principles of
setting - contrasting polyphony in the opening period and imitational
movement in the middle part of the second section of the fifth variation -
testify to the implementation of the polyphonic principles laid in the first
variation. At the same time there is a material associated either with a dance
or with a march which is supported, in particular, by sustained trills of the
first violin and active figurations of cello. The second developing part of the
final variation (from measure 97) is built in a more traditional way in respect
to texture, and its purpose consists in creating tonal-harmonic contrast by
means of introduction of B flat major and c minor. The recapitulation part
(from measure l 06) is built on multiple repetitions of the head moti ve in the
main key by cello and the first v iolin coming to rest on the dominant (f).
After that comes the coda in Paco adagio tempo (measure 130). The coda
marks the same meditative atmosphere as in the beginning of the movement.

Let me repeat that it is precisely this part that is the meaningful climax
of the cycle, being its both lyrical and dramatic centre by virtue of its
originality and deep content.
In the dynamics of movement, the finale (Allegro, sonata form)
resembles the finale of the fourth, preceding quartet. The mainspring in the
development of musical action is a short opening motive. Being
imitationally-polyphonically set, it is the basis on which the first section is
 52

built (measures 1-12, two half-phrases 6 measures each).

The transition area is initially built on relatively new material (measures
12-20), but, as a "countersubject" of a sort, the material of the head-motive is
present here, too. However, soon this motive takes over the whole texture of
the transition area which is gradually ending on the dominant in E major (f).
The beginning of the secondary area (measure 36) is in contrast to the
previous energetic, polyphonic movement. Its beginning is set in whole notes
in the chord succession in pp dynamics. Its structure and melodic pattern
resemble, to some extent, the secondary area from the finale of the fourth
quartet. However, closer to the end of the first half-phrase (by measure 43)
the movement quickens and the pulsation with quarter notes begins,
continuing up to the end of the exposition. The second half-phrase has a
traditional series of additions (measures 43-79); in this sense the secondary
area of the finale has something in common with the structure of the
secondary area of the first movement, revealing similarities both m the
gradual intensification of the dynamics, and a few cadences, fini shing it.
The closing area (measures 79-94) is also functionally analogous to the
closing area of the first movement.
The development section (measures 95-167) begins with the setting of
the first section in f sharp minor. From the second half-phrase an intensive
melodic and harmonic development starts, slightly similar (but much more
dynamic) to the transition area, which leads to a local climax and ends on the
dominant in G major. Then (measure 132) in C major the setting of the
secondary area begins, to the melodic line of which the main thematic
element is ingeniously added. The development of the secondary area in the
development section smoothly flows into the section anticipating the
recapitulation, which ends with a stop on the dominant in the main key,
analogous to the stop before the coda in the third movement, although more
 53

reserved in its dynamics (p ).

The recapitulation on the whole repeats the exposition (with a necessary
transfer of the end of the transition area into E major and of the secondary
and closing areas - into A major). Before the coda (measures 264-269) the
first half-phrase of the first section is stated. The coda itself presents
cadences on the material of the head-motive.
 54

Quartet No. 6, B flat major

The last Quartet B flat major (No. 6) is characterised by a special
sonority, virtuosity and splendour, the features of virtuoso-concert style. In
this respect it could be compared to the Piano Sonata op. 22.
The whole quartet is built on dialogues: in the structure of the first
section of the first movement, where the cello calls up to the first violin in the
scherzo, in the dialogue of two registers in the famous "La Malinconia".
The quartet is original in its contrasts: in movement IV an Adagio is
introduced under the name "La Malinconia" followed by a jocular
"Allegretto" a "perpetual motion" of the sort, ending with Prestissimo tempo
which represents the coda of not only the last movement, but of the whole
composition.
The first movement, Allegro con brio, in sonata form , is distinguished
by a particularly transparent differentiated sound. The first section is strictly
homophonic in its texture being set in the form of a phrase of undivided
structure (measures 1-15). As for the character of the music, it represents a
"gal ante" (elegant ascending turns, staccato broken chords) dialogue between
the first violin and cello. On the harmonic plan the first section modulates
into its dominant - from B flat major to F major.
The transition area (measures 19-45) begins as a repetition of the first
section (with only a slight change of the instrument's functions - the
harmonic parts pass to viola and cello, and the dialogue is conducted by the
first and the second violins). After a short but intensive tonal transition (B
flat major - C major) the section preparing the secondary area begins (from
measure 33). It is built on the material derived from the theme of the first
section (scale-wise transition almost to two octaves, anticipates a simplified
variant of one of its motives) and reaches a conclusion on the dominant to F
 55

maJor.
The secondary area (measures 46-81) is partly similar to its analogue
from the first movement of the Fifth Quartet, in particular, in its contrasts -
the change of movement, introduction of the minor mode. Its distinctive
features are also essential; starting in the major. It does not bear the gloomy
colouring, f minor appearing in the second phrase, but rather introduces a
playful mood that influences the dramatic composition of the whole. Besides,
the secondary area of the quartet under consideration is differently shaped in
structure: in its basis there is a period of repeated formation. It is built up
from four phrases, following along the keys: F major, f minor, A flat major, f
minor. In the last phrase an expansion is attached. The expansion strengthens
the F major tonality and the secondary area concludes with a traditional trill.
This structure is typical of Mozart.
The closing area (measures 89-92) is built on the material of the first
section, which later on connects by counterpoint w ith the last element of the
transition area.
The development section is built mainly on the thematic material of the
first section and the last e lement of the transition area which as was
mentioned above, is deri ved from the primary one. The first section
(measures 93- 11 3) starts with the unison/ statement of the first two measures
of the first section theme in F major; then, after a series of dialogues among
all the instruments, it comes to the climax on the dominant of g minor. From
measure 114 the second section of the development starts, built on the fugally
set material of the transition area. The counterpoint movement continues
along the following keys: g minor, F major, f minor, E flat major, e flat
minor, D flat major, b flat minor, up to measure 138 where in the climax zone
of this section the parts are again united in the unison. From measure 140 a
section starts which anticipates the recapitulation. This section, built on the
 56

dominant in the main key, unlike the majority of similar sections, does not
result in just another climax but, on the contrary, serves to soften the
sounding and ends with a chord with fermata, thus preparing a bright and
vivacious recapitulation.
The first section m the recapitulation (measures 176-193) exactly
repeats the exposition.
The transition area (measures 194-218) is slightly modified compared to
the exposition. In particular, the fragment with the exact repetition of the first
section material is absent there. Instead, relatively new material is placed into
it, which is entirely built on the harmony of subdominant of the main key and
which leads to the section corresponding to the third section of the transition
area of the exposition. Starting from here (measure 207) the whole material
of the exposition is repeated exactly with the necessary transposition.
The second movement, Adagio ma non troppo, was originally oriented
to the Adagio of Mozart's type, which affected the character of themes of the
main sections.
The movement is written in a compound three-part form. Its first section
1s written in a simple two-part song form. The traditional and ordinary
character of the structure is compensated for by the character of the themes -
by its prerequisites for variation, sometimes rather ponderous. The simple
first two measures are already in the first setting, juxtaposed with the second
two measures, ornamented with an ascending tum. The variation on the
theme occurs already in the second half-phrase of the opening section. The
thematic material proper is presented by the second violin (in the beginning
supported by an inaccurate canon by cello); in the part of the first violin a
free counterpoint appears. The middle of the first section (measures 9-12)
brings about instability to the character of musical sound (dominant organ
point). It is neutral in its themes and explicitly prepares the recapitulation
 57

four-beat of the first section in which we see another variation on the main
theme: having a rhythmical - figurative nature. It gives an opportunity for a
first violinist to demonstrate his or her skill.
The middle section (measures 17-32) has rather unusual colouring. This
consists in a sudden emotional character, in the atypical interval pattern of
the theme beginning which engages the expanded triad - a frequent
companion of surprises and singularities of all sorts in music of late 18th -
early 19th centuries. Let us also note the bright colouring timbre effect of
octave doubling string instruments in p. Also of interest in this fragment are
augmented seconds and diminished thirds which are not in the least smoothed
away with melodic movement but on the contrary, are taken "openly" have
emphasised expression. As for the structure, the middle section consists of
two four-measures once repeated (a-a'-b-b'), the repetitions are, of course,
given m ornamental-figuratively varied variation. The tonal plan
(disregarding repetitions) is e flat minor, b flat minor, G flat major, e flat
minor. The material of the transition to the recapitulation (measures 35-44) is
characterised by alternation of registers, a prolonged dominant organ point,
developed in the transition's own section introducing into the recapitulation
with a violin's solo cadence of concerto type.
The recapitulation (measures 45-60) precisely reproduces the structure
and the scope of the first movement, continuing at the same time the process
of figurative variation of the main theme.
The scope and role of the coda (measures 61-79) prove to be quite
significant. In the coda the themes of all Adagio sections are presented, most
completely - the middle of the outmost movements and the initial material of
the middle movement. But most important is that in the coda
 58

the main ideas and principles underlying the foundation of the whole form
are concentrated. Of these the most important is the mood contrast of the
major and minor keys with the same key-note, marking the beginning of the
middle movement (here: c minor - C major).
Instrumental parts are considerably more virtuosic, their development
demands from a performer a higher level of mastership, which is
characteristic of Beethoven 's style in general.
The third movement, Scherzo, B flat major, Allegro, as always is in a
compound ternary form w ith a trio. The character of m ovement and thematic
materi al is again traditional for op. 18. However, this movement has its own
distinctive features. F irst of all its rhythmic structure - the 3/4 meter
Beethoven often interprets and writes as 6/8. Besides, in the theme's
statement, the last eighth of the bar is accentuated (sf), which creates fluidity
of movement and over rules its metrical orientation marks - bar lines, strong
beats. Also of interest is the beginning of recapitulation of the first scherzo
section. The theme is stated by the second violin and v iola against the
background of a trill by the first violin in high register.
In the trio the attention is first of all attracted by the solo part of the first
violin, distinguished by jumping rhythm and fast shift of short thematic
fragments in different registers. This calls for particular facility and rapidity
skill of the right hand movements.
"Here the musician's individuality is all-pervasive, felt in the persistent
accent on the weak beat, in the regularly alternating staccato and legato, in
 59

the ebullient rhythmic vigour. Of all the quartets of Op. 18, this Scherzo is
undoubtedly the most original movement". (De Marliave, 1961, p 43).
The finale "La Malinconia" ("Melancholy") -Adagio - is accompanied
in the beginning with the indication, "Questa pezzo si deve trattare calla
gran delicatezza " ("This piece should be performed extremely delicately").
"This movement is the climax of the B flat quartet, and, according to
Ulibishev, its weak point, on account of the programme attached to it. Earlier
musical art contains nothing at all like this famous Malinconia, flawless
example of symbolism in music: here is mirrored the spirit of the artist, with
every shade of joy and sorrow manifested in his creative gift". (De Marliave,
1961,p.43)
The form of this movement - rondo-sonata with the introduction in slow
tempo - was inherited by Beethoven from Lully; it was also used by Haydn in
his symphonies. However, Haydn used a slow introduction in the first
movements of a cycle which, by the way, is to be found in Beethoven too; for
example, in Sonatas op. 13 ("Pathetic"), op. 31 , etc. But here Beethoven for
the first time introduces such form in the finale and by doing so, shifts the
conceptual focus of the cycle to the fourth movement.
The slow opening section of the fin ale, Adagio, measures 1-44, is built
in a free improvisation form. The restraint of sound of the opening four-
measure formation points to the concentration of thought whereas sharp
"dotted" rhythms and fast ascending turns bear witness to inner tension. The
octave juxtaposition in the repetition of the opening phrase create a new
colouristic nuance. The light tones of violins give way to the muffled sound
of viola and cello. In the further setting (from measure 9) an active
modulation dramatizes the sound. The last measure (with ascending turn)
acquires independent meaning. During its repetition there is a dynamic
contrast pp - f on the sound of the diminished seventh chord. In measure 21
 60

new material appears which is set in an imitative way and which is similar in
its melodic pattern to the theme of the middle section of the second
movement of the quartet. The above-listed thematic elements alternate with
gradually growing frequency, creating an increase of the tension in the
atmosphere.
The fast section of the finale, Allegretto quasi Allegro, a sonata form
without development begins, according to Beethoven's conception,
suddenly and introduces an elated festive mood with lighthearted merriment.
The musical material of this finale section is characterised by dynamism.
The first section (measures 45-60) is set in the form of a classical
section of repeated formation. The thematic material is set by the first violin
and has a figurative character (although each figuration is distinguished by
individuality of pattern).
The transition (measures 61-76) is built on the material of the primary
one (a dialogue in measures 61-67) and results in the dominant in F major.
The material of the secondary area is slightl y less individualised than
that of the first section. It continues the character of preceding sections of the
form. The formation is a section of two half-phrases (measures 77-104). The
traditional expansion of the second half-phrase is not large.
The closing area from measure 105 is built on the material of the
pnmary one and flows smoothly into the junction of repetition-
recapitulation.
The recapitulation (measures 118-194) repeats the exposition practically
without any changes. The closing area concludes on the diminished seventh
chord, followed by the material of the slow introduction.
As a matter of fact, it is from here that the coda most probably begins.
There is a sort of dialogue between the material of the slow introduction and
that of the fast section. The Adagio theme is answered by the statement of the
 61

first section in "a" minor and then, after a short insertion of Adagio motives
comes the primary area statement in G major and B flat major. The motion of
the closing section continues for quite a long time, up to measure 270 - up to
the Paco Adagio section (measures 271-274) in which the motives of the first
section are heard in the form of a meaningful question. The closing section -
Prestissimo (measures 295-296) is, as was said above, the coda to the whole
quartet.
 62

CONCLUSIONS
From a study of the Quartets op. 18, one can judge that the foundations
for Beethoven's quartet composition activity were laid in the compositions of
Haydn and Mozart. Beethoven 's composition in the form of sonata allegro
represented the process of musical evolution. Beethoven's op. 18 reflected
the style of his predecessors, but added to and developed it. Beethoven
treated the form of the sonata allegro more dynamically. While Haydn and
Mozart associated the form of sonata allegro predominantly with the first
movement, in Beethoven's early quartets it is found in other movements of
the four-movement cycle.
Beethoven transforms the Quartet into a more symphonic and dramatic
genre. Here for the first time distinctly appears the opposites of principal and
subordinate themes, with considerably more developed transition and closing
theme.
Beethoven developed the scherzo, sometimes wrote active slow move ments,
often used sonata-rondo for the finales, and used the principle of continuous
development.
The expressive scope of the cycle is very different. The minuet, usually
one of the middle movements of the classical quartet, is replaced by
Beethoven with the genre characteristic of him - the scherzo. The innovation
of the scherzo is credited to Haydn who in 1781 included scherzo and
scherzando in his so-called Russian quartets dedicated to the heir to the
Russian throne, Grand Prince Paul. Haydn treated the scherzo as a purely
entertaining intermezzo movement. Later on, in Beethoven's compositions it
acquired significant independent expression and sometimes abounded with
quite complex content. It was broadly developed and sometimes surpassed
the first movement of a cycle in length. But in this early op. Beethoven still
 63

keeps up the tradition of his teacher ( except for the scherzo of the Fourth
Quartet).
Slow movements, lyrically-contemplative with Beethoven's
predecessors, in his quartets sometimes become very active. The finales are
often written in rondo-sonata form or the form of sonata allegro, instead of
the favourite form of Beethoven's predecessors, rondo. Continuous
development, becomes the basis of his quartet music, thus introducing the
features of symphonic music into the sphere of chamber ensemble.
In summary, it may be considered that the first quartets were the
culmination of the early period of L. van Beethoven's creative activity. Later,
appearing with less frequency, than, say, his sonatas or even symphonies,
compositions of this genre reflected turning points in the evolution of
Beethoven's style. P. Bekker believes that in Beethoven's creative activity
"Quartets, as a genre produce, in the limits of each period, a result, a grand
total , an exquisite implementation of ideas which were expressed in other
genres" ([Bekker,]quoted in Nikolayeva,1967,p338).
With the appearance of Beethoven's quartets the style of ensemble
performance changed considerably. The practice of public concerts initiated
by the Schuppanzig quartet, greatly differed from the then tradition of
intimate salon music-playing. As A. Schindler writes, quartets "were usually
performed in a hall seating five hundred people. In this space four
instruments had the sound of a small orchestra; four musicians were playing
with strength and energy. This alone was already good. By their common
efforts they tried to reveal the characteristic features of the music most
completely and clearly and to bring out the individuality of each composer.
To achieve this, it was necessary first of all to master the skill of making an
instrument sound powerfully and beautifully. This skill was mastered by all
of them although they did not achieve to the virtuosity of modem
 64

performers" ([Schindler,]quoted in Dolgov, l 980,p27). From this extract one

can deduce what were the new aesthetic criteria demanded in performance:
the sound of a quartet is compared to the sound of an orchestra, the sound is
courageous [brave] and energetic, powerful and beautiful. These qualities
were obligatory for all musicians, even those who did not pretend to the title
of a 'virtuoso' . As we can see, the quartet, having overstepped the limits of
princes ' salons, began to lose to some degree the status of chamber music
played in the home. In its aesthetic significance, as well as in the scale of
sound it was approaching the symphony.
Over the last decades the conditions for quartet playing have changed
considerably. Modern ensembles have to perform in halls seating a few
thousand people. But in concert programmes a prominent place is still
occupied by the quartets of Haydn and Mozart. This repertoire calls for a
characteristic sound and performance style. With the creation of Beethoven's
quartets a new medium of expression became necessary to promote the
emergence of new concepts of scale in the sphere of sound and dynamics.
The task of a modern performing musician is to maintain the traditional
chamber character of the genre, while endowing Beethoven's composition
with symphonic scale.
 65

Bibliography
Books:

A. Alschwang. Beethoven. Moscow, "Muzgiz"; 1952.

R.R.Davidyan. The Art of Quartet: Problems of Performance -Theoretical

Foundations, Practical Experience. 2-d edition, supplemented and
revised. Moscow, "Muzyka", 1994.

J.De Marliave. Beethoven's Quartets.1961.New York.Dover Publications,

Inc.

P.Dolgov. Beethoven's String Quartets. Editor and introduction by

B.Dobrokhotov. Moscow. "Muzyka".

E.Errio. The Life of Beethoven. 2-d edition. Moscow. "Muzgiz". 1960.

Translation from French Gedelman. Editing and introduction by I.Belza.

J. Kerman. The Beethoven Quartets.1967. New York. Alfred A. Knopf,

Inc.

A.1.Klimovsky. On the Creative process of Beethoven. Research.

Leningrad. "Muzyka". 1979, p.176, illustrated.

N.S. Nikolayeva. Chamber Ensembles. From the book "The Music of the
French Revolution in the 18-th Century". Moscow. "Muzyka". 1967. P.I.
Tchaikovsky MGC.
 66

Letters by Beethoven. 1787-1811. Moscow. "Muzyka". 1970. (Editing,

selection, introduction, article and commentaries by N.L.Fishman)

Articles or chapters in a book of collected articles or essays:

Ludvig von Beethoven. Esthetics, Creative Legacy, Performance.

Collected articles devoted to the 200-th anniversary from birth. Editorial
board Yu.A.Kremlyev. Leningrad. "Muzyka". 1970

Beethoven. Collected articles. Editor, N.L.Fishman. Moscow.

"Muzyka"; 1971-1972. Issue 1-2

L.Kirillina. Beethoven and the Theory of Music of the 18-th and

beginning of the 19-th century. Thesis for the degree of the candidate in
the study of art. Moscow. 1988.