Page 162 - (DK) The Classical Music Book - Big Ideas Simply Explained

160 LATE BEETHOVEN

Differences between the Classical quartet the theme has undergone several
and Beethoven’s Op. 131 transformations of rhythm as well
as texture. The second variation
Typical Classical quartet begins as a gentle dance in which
Beethoven’s Op. 131 melodic eighth-note phrases pass
VERY QUICK from one instrument to another,
accompanied by detached chords,
but as the variation progresses,
QUICK the running eighth notes take over
SPEED and build to a climax with all four
MODERATE instruments playing in octaves—
a different sound world altogether
from the variation’s opening. The
SLOW variations continue, punctuated by
a couple of cadenzalike first violin
1 2 3 4 5 6 flourishes recalling the “archaic”
MOVEMENTS third movement.
Thematic development also
Classical quartets generally had four movements. After takes place on a large scale. As in
Beethoven, some Romantic quartets had more (or fewer) many of Beethoven’s works (most
movements and abandoned the usual pattern of development.
famously the Fifth Symphony of
1807–1808), the quartet begins with
variations. The fifth jumps in with Beethoven’s output; it cemented his a short four-note motif, which also
an extensive scherzo (a fast dance). great legacy and ensured praise for preoccupied Beethoven in his
A 28-measure adagio (leisurely) his late quartets. Op. 132 quartet, although the
sixth movement leads to an intense pitches are presented here in a
and energetic seventh movement of Natural variations slightly different order, to unsettling
the kind that is generally placed A good example of Beethoven’s effect. This motif forms the first half
first in more conventional works. structural ingenuity can be seen of the opening fugue subject,
Building a structure with such in his handling of the theme and which, in turn, provides many of
unconventional foundations was a variations in the fourth movement the motivic ideas from which the
challenge that Beethoven set for (which builds on techniques other movements are developed.
himself. Some consider Op. 131 to developed in his Diabelli variations,
be the greatest composition of Op. 120). The traditional problem Rousing ending
faced by composers in this form The fifth movement’s key of E major is
was how to create a feeling of the optimistic sister to the sad home
natural continuity instead of the key of C-sharp minor, and, following
formulaic repetition of a set theme. convention, a light-hearted scherzo
Beethoven’s approach is to allow alternates with a contrasting trio.
constant evolution of the music, Unusually, however, Beethoven not
[Beethoven’s quartets] even from the very outset of the only extends the conventional “A-B-A”
stand … on the extreme theme. It begins at the top of the form with a further repeat of the trio
boundary of all that has texture, as a dialogue between the and scherzo (as he does in several
hitherto been attained by first and second violin; it is then other works) but finishes with a
human art and imagination. doubled in 10ths, before moving curtailed repeat of each theme.
Robert Schumann down toward the middle of the This repetition allows him
texture. When the first variation to explore various moods and
begins with the theme in the three techniques, not least in a passage
lower strings, it feels like a natural played sul ponticello (with the bow
continuation of this development, near the bridge of the instrument),
but by the end of this variation, creating a glassy, delicate sound.

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