String Quartet No. 3 (Beethoven)
The String Quartet No. 3 in D major, Op 18.3 is a string quartet by Ludwig van Beethoven.
- 4.1 documents
- 4.2 Further Reading
Formation
It originated from autumn 1798 to January 1799 and - contrary to its numbering as number 3 - the first of the six string quartets Opus 18, the numbering in the opus number corresponds to the order in which the quartets were printed. Although the emergence order of the quartets op 18 is not clearly backed up because the autographs are lost, it is conceivable, however based on the sketchbooks.
The quartet was published in 1801. Client and dedicatee of this as well as the rest of the quartets op 18 is Prince Franz Joseph Maximilian von Lobkowitz.
Set names
About the Music
First Set
The lyrical main theme in the exposition of the first movement is determined by sevenths. Its melody in the first violin is reminiscent of the D major String Quartet (K. 575 ) by Wolfgang Amadeus Mozart. The secondary theme, however, contrasts with syncope and sforzati. In performing variations of the main theme and other syncope and sforzati lead to six-part triplets. In the recapitulation, again dominated the seventh, before the movement ends in strong -eighths.
Second sentence
The cantabile main theme of the second set consists of four tones, three times - repeat - each in a higher pitch. He is compared to a serene side issue. In this, the instruments prance around on both canonical way, as well as mutually in the intervals around each other. The recapitulation is determined by underlaid with sforzati sixteenths before this sentence in the coda ends in the rapidly weakening breaks.
Third set
In a departure from tradition Beethoven referred to the third set no more than " Scherzo ", but only neutral with the tempo marking " Allegro", which in its Liedartigkeit inspired by the first two sentences. ( Entitled " Minore " ) The middle part of this sentence in the minor is characterized by eighth runs.
Fourth proposition
From Beethoven's sketches can be seen that the composer had originally planned another final for the fourth set. The version that finally found the last movement input in the quartet, is the exposure of a tarantella dance in six- eight time, which can not be slowed down also by the quieter side issue. In the implementation of play in an ever -changing combination of two instruments, the Themenmotiv against a third. In the coda, the set comes in a pianissimo to a surprising end.