String Quartet No. 5 (Beethoven)
The String Quartet No. 5 in A major, Op 18.5 is a string quartet by Ludwig van Beethoven.
- 4.1 documents
- 4.2 Further Reading
Formation
The quartet emerged from June to August 1799 is one of six string quartets, which were grouped under the opus number 18 with a dedication to their clients, Prince Franz Joseph Maximilian von Lobkowitz. Contrary to his numbering with the number five, it was composed as the fourth of the six quartets; 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.
Set names
About the Music
In the composition of this quartet Beethoven followed the model of Wolfgang Amadeus Mozart's String Quartet in A major, K. 464, by Beethoven for themselves, in addition to Mozart's K. 387, from the individual voices of a score was created. Parallels between Mozart's K. 464 and Beethoven op.18, 5 for example, are the key similarities in sentences like Example partly same set of names as well as a minuet as the second movement and a structure variations in the third set. Furthermore, there are also some similarities example, in harmony and rhythm.
Beethoven's admiration for Mozart is attested not only by his piano pupil Ferdinand Ries, but also by Carl Czerny: "Once saw Beethoven bey me the score of the six quartets Mozart. He opened the 5th on (in A) and said, ' This is a work! As Mozart said the world: ' see what I could do when would the time come for you! ' "'
This admiration for Mozart is judged by the American musicologist Joseph Kerman critical: " I take this Mozart imitation as the most dramatic sign of his uncertainty and sense of disruption at this stage of the Particular quartet project ."
First Set
In the first movement of Beethoven Mozart follows style by Op 18 he deviates from the dramatic sonata development in the first movements of the first three quartets. The standing in 6/8-measure sentence is introduced by two powerful overclocking. Immediately follow within 42 cycles the two themes of exposure. The cantabile cheerful main theme is characterized by semiquavers in the violin and ascending trills; it stands, the example of Mozart's Quartet following, in triple meter. The page containing Halbtonseufzer theme begins in E minor and moves to G major. According to a third idea, which contains a dialogue between cello and viola, the exposition ends in sixteenth passages of the first violin. In contrast to the string quartets Op 18.1 and 18.2 op exactly the exposition is repeated in the implementation of op 18.5; the recapitulation contains hardly any changes.
Second sentence
The second movement begins with a bold dialogue between the two violins. The middle part, which is also reminiscent of Mozart's KV 464, contains lively eighth figurations in the first violin, is surprising to C sharp minor with a crescendo to fortissimo over and ends abruptly. The recapitulation has a denser sentence structure and variation on the main theme of the second movement.
Third set
As the center of the quartet, the third sentence is created. Beethoven designed the set, which is about twice as long as the other sets of the Quartet, as well as Mozart in his quartet in variation form; Further, the third sets of Beethoven and Mozart KV 464 op 18,5 meter, key, and a detailed Coda have in common.
Follow the simple theme of the set of five variations, which are of equal length and for the most part harmoniously constant.
In the first variation, the eighth notes of the main theme to be sixteenths; it begins in the cello and is then continued by the viola and two violins. The second variation converts the sixteenth of the first variations in semiquavers, which are recited by the first violin. In the third variation, the violin converts the semiquaver of the second variation in tremolo -like thirty-second and so accompanied the dialogue of the leading viola the cello. The fourth variation changes several times between major and minor and varies the theme of the third set to a chorale. The fifth variation was probably inspired by Mozart's sixth variation. With their Staccatosechzehnteln and against the clock focus set sforzati and trills in the first violin has the character of a bawdy folk dance.
The guided by Staccatosechzehnteln Coda takes up the first two bars of the main theme and ends in a quiet Poco Adagio.
Fourth proposition
The main theme of the alla breve finale consists of a motif from 3/8-Auftakt and a fourth and first appears as a canon of all four instruments, then in reverse and finally as a counterpoint to the reconciliation issue. The incipient in minor implementation is contrasted by a quiet side issue and, following the example of Mozart, completed by a gentle minor variant. After a code-compliant reprise the movement ends surprisingly in a piano chord.