String Quartet No. 6 (Beethoven)
The String Quartet No. 6 in B flat major, Op 18.6 is a string quartet by Ludwig van Beethoven.
- 4.1 documents
- 4.2 Further Reading
Formation
Within the group the op 18 in B flat major Quartet was last between April and summer of 1800 and was also released as a last resort. Client and dedicatee of this as well as the rest of the quartets op 18 is Prince Franz Joseph Maximilian von Lobkowitz.
In general, the numbering of the quartets in the opus number, however, disagree with the order of emergence of the quartets; Rather, the sequence numbering is again in the quartets have been printed.
The publication of the Quartet took place in 1801.
Set names
About the Music
First Set
The first set adheres to the tradition of the sonata form. The main theme consists of a double strike and a rising triad motif in the first violin. The other instruments operate on the double whammy; Eighth and quarter movements of the middle instruments accompany the main theme. The secondary theme of the exposition will alternate between major and minor. Beethoven makes exposure a rare beachtetete from the performers tapping tempo of 80 beats per minute.
The execution starts by taking the double whammy back on and the main theme and provides the latter with minor effects. After the main theme is touched upon again, Beethoven goes into the implementation of new ways by reducing the existing topics on substance simplest elements to develop in this way new forms of expression.
The recapitulation begins with a sudden Sforzato; of energetic sforzati the double whammy motif is also accompanied here. The unstable set course comes only in a roundabout way to the tonic.
Second sentence
In the second set of three-part song form and set of variations are combined. The set of variations follows a principle that op is 59.2 continued in the slow movements of Beethoven's String Quartet No. 7 in F major, Op 59.1 and String Quartet No. 8 in E minor: The variations will not find in the melody, but place in the accompanying voices; also have the Variations on an idiosyncratic rhythm, which was designated by Beethoven explicitly as " queste note ben marcate ".
The movement begins in bedächtigem 3/4-time. The first violin intones a song-like theme which is taken up by the second violin. The main part is designed in three parts Liedart and contrasted to the middle part, which is in E flat minor. The recapitulation can not quite solve the minor of the middle section are. The minor theme of the middle section is taken up again even in the coda. Then the coda abruptly changes to C major and ends in E flat.
The second set was long neglected in the analysis by musicologists as Wulf Konold, Herbert Schneider, Arnold Werner -Jensen and Hugo Riemann in favor of the Adagio finale.
Third set
The third set insecure in rhythmically by a lack of a common clock focus of the four instruments, as well as idiosyncratic sforzati and urgent syncopations; the usual Menuettcharakter absent. The confusion arises not, as often assumed, by the opposition of three-quarter - and sixteenth clock; also can play through only by orientation at three-quarter time of the sentence.
In contrast, the clock priorities are identified by start -sixteenth in the violin figure in the trio.
Fourth proposition
The fourth set of introductory Adagio consists of two parts: The first part begins with a brooding melody that ends suddenly and reseated two more times. The second part of the Adagio starts as a fugal and ends with a sigh.
Lewis Lockwood shares the view of Professor Richard Kurth that the finale of Op 18.6 is inspired by Wolfgang Amadeus Mozart's " Dissonance "; he sees parallels in the slow introduction and the harmonious running of both finales. Richard Kurth expressed his opinion in an unpublished lecture he gave during a Harvard Seminar on the string quartets of Beethoven.
With the default " Questo pezzo si deve trattare colla piú gran delicatezza " Beethoven wishes that with " La Malinconia " titled record was to play with the greatest sensitivity. The term " La Malinconia " (German: " melancholy " ) refers contrary to the original assumption is not only the adagio part of that sentence, but the entire finale of the B flat major Quartet.
The second part of the quartet finale is an Allegretto quasi Allegro in 3/8-time and should be played by Beethoven from 1818 with a speed of 88 cycles according to the metronome. Within the Allegretto portion of the Adagio of the sentence beginning returns twice. The musicologist Carl Dahlhaus other hand, describes the Adagio only as " Introduction ", without giving reasons but his assessment.
The return of the Adagio is one of several indications that the Allegretto section is only apparent salvation of the Malinconia. Another indication is that the standing in sonata form set no development includes, because it lacks the implementation. Moreover, hardly the recapitulation contains changes. The depressive Adagio one hand, and the hectic Allegretto other hand symbolize a different expressions of the same Gemutszustandes.
The contrast between Adagio and Allegretto prompted the Beethoven research, to be seen in parallels to Beethoven biography. Therefore, this contrast reflects triggered by Beethoven's deafness personal life situation in which the composer was the emergence time of the quartet. So he wrote the one hand, "I can say, I'll take my life too miserable for 2 years almost I avoid all companies ," and: "Oh, it is life so beautiful life a thousand times - for a still - life, no, I feel it, I 'm not made for it. "
The preparation of a link between the biography of the composer and the music written at the same time is also seen as critical. So Carl Dahlhaus speaks in the case of B flat major Quartet of " psychological and biographical [n ] reasoning ," which "for the interpretation of the musical work are not of concern ." The opposite view was represented in 1994 by Hans Heinrich Eggebrecht in " The History of Beethoven reception " ( Laaber, 1994); and in 1865 was August Wilhelm Ambros wrote: "We are therefore in Beethoven almost at the same positions as in Goethe - we consider his works as the commentary on his life [ ... ] her life as a commentary on their works ."