String quartets (Schoenberg)

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The Austrian composer Arnold Schönberg published four string quartets, distributed over his lifetime. These were the String Quartet No. 1 in D minor, Op. 7 (1905), String Quartet No. 2 in F sharp minor, Op. 10 (1908), String Quartet No. 3, Op. 30 (1927), and the String Quartet No. 4, Op. 37 (1936).

In addition to these, he had written several other works for string quartet which were not published. The most notable was his early String Quartet in D major (1897). There was also a Presto in C minor[1] (1895), a Scherzo in F major[2] (1897), and later a Four-part Mirror Cannon in A major[3] (ca. 1933).

Schönberg also wrote a Concerto for String Quartet and Orchestra in B flat major (1933): an arrangement of a work by the Baroque composer George Frideric Handel.

Contents 1 String Quartet in D major 2 String Quartet No. 1 3 String Quartet No. 2 3.1 Text 4 String Quartet No. 3 5 String Quartet No. 4 6 References 7 External links

[edit] String Quartet in D major

This string quartet in four movements is Schönberg's earliest extant work of large scale: average duration of recorded performances is about 27 minutes. Completed in 1897, it was premiered privately on March 17th, 1898, and publicly later that same year on December 20th in Vienna. It was published posthumously in 1966 (Faber Music, London).

Schönberg's friend Alexander Zemlinsky gave him much advice and criticism during the composition of this work. Zemlinsky even showed an early draft of it to Johannes Brahms, whom Schönberg very much admired. It was given the old master's approval.^[4]

1. Allegro molto
2. Intermezzo (Andantino grazioso)
3. Theme and Variations (Andante con moto)
4. Allegro

The original second movement was the Scherzo in F which now exists as a separate piece. Schoenberg substituted the Intermezzo at Zemlinsky's suggestion.

[edit] String Quartet No. 1

A large work consisting of one movement which lasts longer than 45 minutes, Schoenberg's first string quartet was his first assured masterpiece, and it was the real beginning of his reputation as a composer. Written in the years 1904 and 1905, this string quartet is remarkable for its density and intensity of orchestration with only four instruments. Unlike his later works, this work is tonal, bearing the key of D minor, though it stretches this to its limit with the thoroughly extended tonality of late Romantic music. It also carries a small collection of themes which appear again and again in many different guises. The first performance was given in Vienna on February 5th, 1907 by the Rosé Quartet after extensive rehearsal.

According to Schönberg, when he showed the score to Gustav Mahler, the composer exclaimed: "I have conducted the most difficult scores of Wagner; I have written complicated music myself in scores of up to thirty staves and more; yet here is a score of not more than four staves, and I am unable to read them." ^[5]

[edit] String Quartet No. 2

This work in four movements was written during what must have been a very emotional time in Schönberg's life. Though it bears the dedication "to my wife", it was written during Mathilde Schönberg's affair with their neighbour, Richard Gerstl, in 1908.

The third and fourth movements are quite unusual for a string quartet, as they also include a soprano singer, using poetry written by Stefan George. The first three movements are tonal, though like his first string quartet this is the very extended tonality of the late Romantic period. The fourth movement has no key signature, and may be considered Arnold Schönberg's first experiment in atonality, making use of the entire chromatic gamut, though its adventurous harmony comes to a close on a haunting F sharp major chord. Its first performance was given by the Rosé Quartet and Marie Gutheil-Schoder in Vienna on December 21, 1908. The work was later revised in 1921.

1. Maβig (Moderate), F sharp minor
2. Sehr rasch (Very brisk), D minor
3. "Litanei", langsam ("Litany", slow), E flat minor
4. "Entrückung", sehr langsam ("Rapture", very slow), No key

[edit] Text

The later two movements of the second string quartet are set to poems from Stefan George's collection Der siebente Ring (The Seventh Ring), which was published in 1907.

Litanei Tief is die trauer die mich umdüstert, Ein tret ich wieder, Herr! in dein haus. Lang war die reise, matt sind die glieder, Leer sind die schreine, voll nur die qual. Durstende zunge darbt nach dem weine. Hart war gestritten, starr ist mein arm. Gönne die ruhe schwankenden schritten, Hungrigem gaume bröckle dein brot! Schwach ist mein atem rufend dem traume, Hohl sind die hände, fiebernd der mund. Leih deine kühle, lösche der brände. Tilge das hoffen, sende das licht! Gluten im herzen lodern noch offen, Innerst im grunde wacht noch ein schrei. Töte das sehnen, schliesse die wunde! Nimm mir die liebe, gib mir dein glück!

Litany Deep is the sadness that gloomily comes over me, Again I step, Lord, in your house. Long was the ride, my limbs are weary, The shrines are empty, only anguish is full. My thirsty tongue desires wine. The battle was hard, my arm is stiff. Grudge peace to my staggering steps, for my hungry gums break your bread! Weak is my breath, bringing the dream, my hands are hollow, my mouth fevers. Lend your cool, douse the fires, rub out hope, send the light! Fires in my heard still glow, open, inside my heart a cry wakes. Kill the longing, close the wound! Take my love away, give me your joy.

Entrückung Ich fühle luft von anderem planeten. Mir blassen durch das dunkel die gesichter Die freundlich eben noch sich zu mir drehten. Und bäum und wege die ich liebte fahlen Dass ich sie kaum mehr kenne und du lichter Geliebter schatten--rufer meiner qualen-- Bist nun erloschen ganz in tiefern gluten Um nach dem taumel streitenden getobes Mit einem frommen schauer anzumuten. Ich löse mich in tönen, kreisend, webend, Ungründigen danks und unbenamten lobes Dem grossen atem wunschlos mich ergebend. Mich überfährt ein ungestümes wehen Im rausch der weihe wo inbrünstige schreie In staub geworfner beterinnen flehen: Dann seh ich wie sich duftige nebel lüpfen In einer sonnerfüllten klaren freie Die nur umfängt auf fernsten bergesschlüpfen. Der boden schüffert weiss und weich wie molke. Ich steige über schluchten ungeheuer. Ich fühle wie ich über letzter wolke In einem meer kristallnen glanzes schwimme-- Ich bin ein funke nur vom heiligen feuer Ich bin ein dröhnen nur der heiligen stimme.

Rapture I feel wind from other planets. I faintly through the darkness see faces Friendly even now, turning toward me. And trees and paths that I loved fade So I can scarcely know them and you bright Beloved shadow--summon my anguish-- Are only extinguish completely in a deep glowing In the frenzy of the fight With a pious show of reason. I lose myself in tones, circling, weaving, With unfathomable thanks and unnamed love I happily surrender to the great breath. A violent wind passes over me In the sway of commitment where ardent cries In dust flung by women on the ground: Then I see a filmy mist rising In a sun-filled, open expanse That includes only the farthest mountain hatches. The land looks white and smooth like whey, I climb over enormous canyons. I feel as if above the last cloud Swimming in a sea of crystal radiance-- I am only a spark of the holy fire I am only a whisper of the holy voice.

[edit] String Quartet No. 3

Arnold Schönberg's third string quartet dates from 1927, after he had worked out the basic principles of his twelve-tone technique. Though the work is serial, he discouraged attempts to follow the transformations of the pitch series aurally. The themes of this work seem to consist mainly of rhythmic patterns rather than pitch, which are reused in variation just as in Classical music (and even though it is not used as thematic material, there is also consideral motivic use of pitch). Indeed, Schönberg had taken Classical forms as a model for this work.

The piece was commissioned by Elizabeth Sprague Coolidge on March 2, 1927, though the work had already been completed by this time, and its premiere was given in Vienna later that year on September 19 by the Kolisch Quartet.

1. Moderato
2. Theme and Variations (Adagio)
3. Intermezzo (Allegro moderato)
4. Rondo (Molto moderato)

[edit] String Quartet No. 4

The fourth string quartet of 1936 is very much representative of Schönberg's late style. The work is dodecaphonic like the third string quartet, though in this quartet the focus is much more melodic rather than rhythmic.

This work, like the third quartet, was commissioned by Elizabeth Sprague Coolidge, and was completed on July 26, 1936. Its first performance was given January 8, 1937 in Los Angeles by the Kolisch Quartet.

1. Allegro molto, Energico
2. Comodo
3. Largo
4. Allegro

[edit] References

• Barbier, Pierre E.. String Quartets nos. 1,2, "Historical Legitimacy", included booklet. Praga Digitals PRD 250 112 HMCD 90, Prague, 1997.
• Harrison, Max. Schoenberg, the String Quartets, "Four Staging Posts on Schoenberg's Musical Journey", included booklet. Phillips Classics 464 046-2, München, 1999.
• MacDonald, Malcolm. Brahms. Oxford University Press, Oxford, 2001. ISBN 019816484X ↑ 
• Schoenberg, Arnold. Style and Idea. University of California Press, Los Angeles, 1984. ISBN 0-520-05294-3 ↑  p. 42
• Schoenberg, Arnold. String Quartets nos. 1 and 2. Dover Publications, Inc., Mineola, New York, 1997. ISBN 0-486-29693-8

[edit] External links

• String Quartet in D major at Schoenberg.org
• String Quartet No. 1 at Schoenberg.org
• String Quartet No. 2 at Schoenberg.org
• String Quartet No. 3 at Schoenberg.org
• String Quartet No. 4 at Schoenberg.org