String Quartet No. 10 (Beethoven)
The String Quartet No. 10 in E flat major, Op 74 (Harp Quartet) is a string quartet by Ludwig van Beethoven.
- 5.1 documents
- 5.2 Further Reading
Formation
Beethoven composed the Quartet in 1809 - two and a half years after the String Quartet No. 9 in C major op 59.3, the " Razumovsky " quartet - and dedicated it to Prince Franz Joseph Maximilian von Lobkowitz, who already client and the dedicatee of the quartets op had been. 18. The nickname of the Quartet, which is not from Beethoven, has its origins in the harp -like pizzicato of the first set.
Shortly before composing the Quartet op 74, besieged in May 1809, Vienna by the French troops; Beethoven sought even in the basement of his brother Kaspar Karl protection from the cannon noise and should have tried to protect his begriffenes waning hearing by squeezing pads on his ears. Caused by the French siege, Beethoven was able to start only in August his usual summer stay in Baden, where then the quartet, together with the Piano Concerto in E flat major, Op 73 ( "Emperor ") and the Piano Sonata No. 26 in E flat major op 81a (Les Adieux ), was born.
Since Beethoven was already famous by works such as the Symphony No. 5 in C minor, Op 67 Symphony No. 6 in F major op.68 ( "Pastoral" ) and the Piano Concerto No. 5 in the whole of Europe, can the relative simpler to the " Razumovsky " quartets conception of the String Quartet No. 10 suggests that Beethoven turned with this quartet to a predominantly bourgeois concert audience, especially since the conquests of the French, Napoleon Bonaparte, the future of the aristocratic salon culture, which included Beethoven's noble patrons, were questionable.
Set names
About the Music
The quartet op 74 lacks the intensity of motivic development issues, the sonata movement dynamics as well as the modulatory boldness of the " Razumovsky Quartets ".
First Set
The first movement starts with a tranquil Poco Adagio. This is followed by resolute main theme, which is accompanied by the eponymous pizzicato. After the concentrated exposure to the embossed from the main theme and the pizzicato five-part implementation in C major, which is holding back with variations follow. Also in the recapitulation missing the development of the thematic material, although this is by 12 cycles longer than the exposure. The movement ends with the sixteenth dominated by the first violin and pizzicato coda, which contains a virtuoso violin cadenza 25taktige, also without issues and development with 59 bars the longest coda in Beethoven's first ten quartets.
The first movement of Op 74 is the only one held in sonata form set within this quartet. Besides op.74 this phenomenon appeared within Beethoven's quartet work only in his C sharp minor Quartet, Op 131 ( here in the final movement ) on.
Second sentence
The second movement is in the form of a rondo, and is determined by soft modulations and surprising chord twists. The set includes three each 23taktige sections in which the main theme is treated; these sections alternate with two interludes.
A Cantilena determines the set, which is varied in the course of three times; in the last variation sound back through the pizzicato of the first set.
Third set
The five-part third movement is in the form of a scherzo, but not its character, and starts with a research, troubled topic. Its rhythmic motif is inspired by Beethoven's Symphony No. 5, which was premiered a few months earlier. The long coda is mostly played pianissimo.
In C major Maggiore Beethoven parodied rigid counterpoint exercises. Shortly before, he had his pupil Archduke Rudolph, " Materials for basso " and "Materials for Counterpoint " compiled shortly before he fled before Napoleon's troops two workbooks.
Fourth proposition
It will be sent directly to the fourth set, which is determined by the Allegretto and its six variations. While all instruments are involved in the first and fourth variation, the second variation of the viola is determined, the second third of the violin and the cello, the fifth by the first violin, the sixth variation finally the cello. The final movement of the Quartet ends in a rectangular box adhere unison. The coda is just like the variations of triplets dominates. Musicologist Peter Schleunig had in 2003 indicated that the violin solo in the coda, with its arpeggios was inspired by the final movement in Johann Sebastian Bach's fourth Brandenburg Concerto. The coda ends in an Allegro Stretta in which all instruments are involved in a " accelerando ".
Effect
The samples for the quartet took place under Lobkowitz by the string quartet ensemble. A world premiere of Beethoven's friend, Ignaz Schuppanzigh ( which was considered by Beethoven regularly nicknamed " Milord Falstaff " ) and its Schuppanzigh Quartet is not occupied. However, it is possible that Lobkowicz ' cellist Anton Kraft premiered the quartet in one of his quartet concerts in collaboration with Schuppanzigh.
In May 1811, the " General musical newspaper" wrote in allusion to Beethoven's Opus 18 Quartets: " We believe in the soul of all outlaw friends of music and the quartet music to speak insbesondre, if we express the wish that our example in this way you get, and would have given us a lot of those similar! "because Beethoven's newest quartet op 74 included only " gloomy spirit, "" the Unähnlichste fantastically connected, "" gloomy confusion, "" low melodic context, "" round- Herschweifen of an incident to another "and" unnecessary clutter hard dissonance "; it lacked " high simplicity ", " sweetest melodies ," " the light and pleasing ."
The publication of the Quartet by the Leipzig " Breitkopf & Härtel " publishing in November 1809 was so successful that the piece in Vienna was reissued by the " Artaria " publishing already a month later. These two voices Prints are bound by their slight differences for research.
The quartet op 74, 12 in E flat major, Op 127 is considered as a bridge to Beethoven's String Quartet No., served as a model for Franz Schubert and Felix Mendelssohn Bartholdy; the latter especially for the String Quartet in E flat major, Op 12
The autograph has been lost in the Second World War.
In the perception of posterity, the quartet is considered to be not as deep and probing the limits of music as the quartets op 18 and op 59; latter have accordingly more attention than learn the Harp Quartet.