The slow movement moves to the finale without pause, as the first violin plays a series of virtuosic running scales, eventually landing on a trill.
The closing bars provide us with a fitting end to one of the true giants of the string quartet repertoire. The Quartet in E Minor, Op. The pathos laden first movement opens with two declamatory chords covering the interval of a fifth. Following a bar of silence, the first violin and cello introduce the first motivic figure. This opening motive quivers with quiet energy, full of dramatic promise. The concise sonata form first movement bustles with energy, and eventually finds its way to sure-footed emotional ground.
- String Quartet No. 9 in C major ("Rasumovsky No. 3"), Op. 59/3.
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- String Quartet No. 9 in C major, Op. 59, Razumovsky, No. 3, "Eroica" - Ludwig van Beethoven.
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A rising tide of syncopation, shared by the quartet, ushers back the tolling chords from the opening. Spurred by accents and rhythmic energy, the movement covers a huge emotional range. Relatively simple melodic material is countered by a harmonic complexity that to this point had not been explored in the writing of quartets.
The movement closes with a forte statement of the melodic motive that opened the movement, and then fades to a close. The texture is dappled with triplets, dotted rhythms, and the ever-present hymn, giving us a feeling expansiveness and intimacy. The hymn appears one final time in the coda of the movement in fortissimo , with strong sforzandi pushing us toward the conclusion of the movement.
The E minor Allegretto offers us a landscape of simplicity and clarity after the Adagio. The simple tune is accompanied with a sparse rhythm, keeping the texture uncluttered. The movement unfolds as follows: allegretto-trio-allegretto-trio-allegretto.
BEETHOVEN The Middle Quartets
The presto Finale begins in C major, although the key signature denotes E minor. The symphonic physicality of this music is punctuated by driving rhythm and the energy of the running melodic lines. The return to the rondo theme is achieved through a playful passing of the first three notes of the melody between all four instruments. The closing prestissimo brings the piece to its impassioned final chords.
The heroic Op.
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The slow twenty-two bar introduction that follows is anchored by a bass line that steadily descends an octave and a half while enigmatic melodic fragments flicker in the instruments above. Even as the main Allegro vivace body of the movement begins in the first violin, Beethoven cleverly withholds his true first theme for another twelve measures before allowing it to burst forth with unbridled exuberance in the upper three voices of the quartet.
The robust disposition of the music wanes briefly in the development as Beethoven splinters the music, spreading it in unexpected ways between the instruments of the quartet before closing the first movement with a very brief coda. Of the three Op. Or perhaps Ludwig van was showing the Russians that he could dish up a Russian sounding theme as good, if not better, than any Russian. When the viola gets the theme, the music is somewhat modified by the addition of unexpected accents and swells, creating a stormier mood.
Eventually the first violin ushers in a more dance-like second theme that lifts the spirits of the music, and provides a much needed sense of hope. When the movement finally fades to a close, it ends as it began, with a simple pizzicato. For the third movement, Beethoven chose to utilize the form of a minuet instead of a scherzo, which gave him the opportunity for grace and elegance instead of crackling energy. The movement, built on a smoothly contoured melody played first by the violin and then by the other instruments of the quartet, is patient and refined.
The String Quartet No. This work is the third of three of his " Razumovsky " cycle of string quartets, and is a product of his "middle" period. It consists of four movements:. The introductory andante con moto section of the first movement is not directly related to the rest of the movement and serves a similar function to the introduction of his Op.
Thereafter, the movement's main thematic material is exposed and developed. The relation or apparent lack thereof between the slow, sombre and dissonant introduction and the bright allegro which follows, is similar to what is found in Mozart 's "Dissonance" Quartet , also in the key of C. The quartet's second movement makes use of an augmented second in the descending scale first played by the first violin at the beginning of the movement.
This interval, repeated through the movement, gives it an association with the Hungarian scale.
Unlike the other two opus 59 quartets , this one does not have an explicit "Theme Russe" in any of its movements. HDtracks - High Definition Music. Search: Search. Log In. Title: Beethoven: String Quartet No.
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