String Quartet No. 9 (Beethoven)
The String Quartet No. 9 in C major, Op 59.3 is a string quartet by Ludwig van Beethoven. It was written in 1806 and is the third string quartet in the group of the Razumovsky Quartets. The quartets are by their client, the Russian diplomat Andrei Razumovsky Kirilovitch named, who was a major supporter of Beethoven.
- 4.1 documents
- 4.2 Further Reading
Set names
About the Music
Because of their Russian atmosphere, the " Razumovsky Quartets " and "Russian Quartets " called, but is op 59 No. 3 the only quartet from the group, for in spite of his Russian sound no Russian original melody has been demonstrated. Together with the other quartets from the " Razumovsky " group makes this quartet with his string quartet hitherto unknown complexity of a turning point in Beethoven's work.
The " Razumovsky " Quartets are designed so that the central quartet is in a minor key and is framed by two major quartets. This was to be repeated later in the three -composed for the Russian Prince Nikolai Borisovich Golitsyn quartets.
First Set
As the only quartet in the Rasumowsky group, the quartet has op 59.3 in the first movement, a slow introduction. Each diminished seventh this introduction leads into a new, unresolved chord. After this introduction, followed by a solo violin cadenza that leads over to the lively main theme, which is varied in the course of the movement. In the exposition under the concertante surface develops a thematic development process from a nondescript Sekundintervall.
One of the first ideas of Beethoven for this set was inspired by Wolfgang Amadeus Mozart's Clarinet Quintet in A major, K. 581.
Second sentence
The main theme of the second movement is a lyrical Adagio in A Minor, which is accompanied by cello pizzicato (A- part). It is characterized by an equally vast quaver movement; his melancholy is reinforced by Beethoven's metronome tapping tempo of 56 dotted quarters per minute. It follows the central part of the sentence (B section ) with a light-hearted melody, a minor variation of the major theme. After completion of the middle part again heard the lyrical main theme ( C major ) with slight variations compared to the A- part.
Since Beethoven his own words einarbeitete a Russian folk melody in each of the three " Razumovsky " Quartets, this sentence may be an adaptation of a "Russian" melody.
Anyway, inspired by the Russian atmosphere deses set in 1859 the Russian composer Modest Mussorgsky, a piano transcription to write this sentence. More edits created in 1819 for piano solo and in 1820 for two guitars.
During the composition phase Beethoven for this set was planning a theme 2/4-cycle, used it, however, until five years later as the theme of the slow movement in his Symphony No. 7 in A major op 92
Third set
The third movement is initiated by a light-hearted theme that is varied in the course of the movement, according to the variations of the main theme of the movement is repeated. While Beethoven looks with the melancholy Adagio of the second set in the future, he raises here in the third set an ironic look at the courtly dance of the past.
The sentence should not be in F major, but in C Major, Trio in D flat major originally.
Fourth proposition
The main theme of the fourth movement, which was also used as the theme song of the literary program " The Literary Quartet " is a stormy fugal, which is varied in the course of the movement in the equally tumultuous sound. Beethoven asked for this set a tempo of 84 beats per minute, but this is not adhered to by all performers. This sentence is, despite its fugati no gap, but a sonata without repeating the exposure.
The long Satzcoda that is longer with 125 cycles than the exposition, development and recapitulation of the sentence suggests that the finale is expected to complete not only this quartet, but also the entire group of the Razumovsky Quartets crowning.
While working on the Beethoven Quartet took a final in C minor eye.
Effect
The quartet was shown, together with the other " Razumovsky " quartets of Ignaz Schuppanzigh and his string quartet Ensemble at the palace of Count Razumovsky. Beethoven was since his move to Vienna friends until his death in 1827 Schuppanzigh and used the musician nicknamed " Milord Falstaff " to consider. Perhaps could Schuppanzigh and his musicians the Razumovsky Quartets already in the first months after their formation, in which the diplomat had as principal nor the sole exploitation rights to the works, publicly perform.
Because of their complexity, the quartets op 59 met with incomprehension and rejection. As the " General Musical Zeitung" wrote, however, the quartet must Op 59 No 3 " ... by peculiarity, melody and harmonic force formed every music lover win ."
The Viennese publication of the Quartet op was 59.3 together with the other Razumovsky quartets in January 1808 " Schreyvogel 's Industrie Comptoir "; the publication order of the quartets corresponds most probably also the order of their creation. 1809 published a reprint Simrock in Bonn; the first edition of the score quartets took place only in 1830.
Over time, public opinion changed through the Quartet. On February 11, 1816 was the C major quartet part of Ignaz Schuppanzigh farewell concert, just before he embarked on several years of concert tours to Russia. Even after his return in 1823, the quartet played Schuppanzigh often in his chamber music concerts.
The musicologist Arnold Schering saw created in op 59.3 parallels to " Don Quixote " by Miguel de Cervantes. As " set to music scenes " he saw in the Introduzione the sinnierenden on the books of chivalry, Don Quixote, in the first sentence, for example, the ride from La Mancha, in the second set Antonios romance, in the third sentence of Don Quixote extract and its fight against the windmills as well as in fourth set of his victory.