String Quartet No. 15 (Beethoven)
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The Quartet in A minor, by Ludwig Van Beethoven, opus 132 was written in 1825, given its public premiere on November 6 of that year by the Schuppanzigh Quartet and was dedicated to Count Nicolai Galitzin, as were op. 127, 130 and 131. The number traditionally assigned to it is based on the order of its publication; it is actually the thirteenth quartet in order of composition. Its five movements are:
- Assai sostenuto — Allegro
- Allegro ma non troppo
- Molto Adagio — Andante — Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart
- Alla Marcia, assai vivace (attacca)
- Allegro appasionata — Presto
The markings that precede and are interspersed throughout the movements are explained in the article tempo.
* Sessions' book below contains this information about the quartet's finale, and his opinions of the first movement also.
Contents |
[edit] Formal analysis of movements
[edit] Movement I (Allegro)
The slow introduction to the first movement, like that of the fourteenth quartet, is based on a motif that recurs throughout the late quartets and in the Grosse Fuge as well, the half step. The movement's unusual structure was described by Roger Sessions as more of a triple exposition than a normal sonata form in his classes. With three statements of exposition material (including recap), it mimics the repeat seen in classical sonata form expositions, but adds the extra interest of a presentation in a different key and different registral possibilities.
This movement is in a very modified sonata form.
Exposition #1 (mm. 1-74)
1st tonal area, am (mm. 1-29)
Transition
2nd tonal area, FM (mm. 48-58)
Closing (mm. 59-74)
Note: There is no repeat.
Pseudo Development (mm. 75-102) Understanding where we will eventually arrive (not at the recap), we can call this section transitional material, even though some motives are developed.
Exposition #2 (mm. 103-192) This is almost exacly the same as the first exposition, except transposed into e minor, with C Major as the second tonal area.
Recapitulation (mm. 193-231) A shorter version of the original exposition, but at least it's in the right key!
Coda (mm. 232-end) With a strong pedal E (V) using the violin I's piercing open e string leading into the final cadence at measure 264. With Beethoven's knowledge of string instruments, he may have even chosen the key of A minor for that specific technique.
[edit] Movement II (Allegro ma non tanto)
The second movement is a minuet with trio, rather than the scherzo with repeated trio that Beethoven used most often in his works starting with the Eroica. The trio evokes a musette with its melodies over sustained tonic (here, A) tones.
[edit] Movement III (Molto Adagio; Andante)
The third movement is the longest in the quartet. Formally described it alternates slow sections in a modal F with faster sections, "Neue Kraft fühlend" (with renewed strength), in D. Beethoven wrote this piece after recovering from a serious illness which he had feared was fatal. He thus headed the movement with the words, "Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart" (Holy Song of Thanksgiving by a Convalescent to the Divinity, in the Lydian Mode).
[edit] Movement IV (Alla marcia, assai vivace)
This brief A major march connects to the rondo-finale by a recitative-like passage.
[edit] Movement V (Allegro appassionato; Presto)
One finds in Beethoven's sketches that the theme like that of the theme of this rondo was originally meant for an instrumental conclusion to his ninth symphony. This theme was abandoned, for the famous choral ending we are familiar with. This A minor rondo ends in a substantial majrts.
[edit] Sources for further reading
These sources contain information specifically about the Op. 132 quartet.
- Sessions, Roger. The Musical Experience of Composer, Performer, Listener. Princeton, New Jersey: Princeton University Press, 1958. Paperback.
[edit] See also
[edit] External links
- Composers's Datebook Entry on the Work's Premiere
- Project Gutenberg — Score and MIDI of this piece
- Analysis of the Quartets with Remarks on this Work
- NPR - In Performance
- The Takacs Quartet on Beethoven's Message to God - Live recording of the 3rd movement of the String Quarten No. 15
| String Quartets by Ludwig van Beethoven |
|---|
| String quartets, Op. 18 | Op. 18 No. 1 | Op. 18 No. 2 | Op. 18 No. 3 | Op. 18 No. 4 | Op. 18 No. 5 | Op. 18 No. 6 |
| String quartets, Op. 59 ("Rasumovsky") | Op. 59 No. 1 | Op. 59 No. 2 | Op. 59 No. 3 |
| Middle period quartets | Op. 74 ("Harp") | Op. 95 ("Serioso") |
| Late quartets | Op. 127 | Op. 130 | Op. 131 | Op. 132 | Grosse Fuge, Op. 133 | Op. 135 |
| Arrangement by Beethoven of Op. 14 No. 1 |
