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Quartet project began as a commission for three new quartets from Prince Galitzin,
played by Shuppanzigh Quartet
- Beethoven’s concerns in late period concentrated in quartets:
contrast and coherence in large scale forms – search for alternative to normal sonata form
formal counterpoint and fugue
“Volksweisse” – special care for folk song and dance
envoicement of instruments, the value of pure song, instrumental recitative
transcendence, reconciliation? Dissociation, disruption?
Op. 127 Eb
Op. 132 a
Op.130 Bb; with Grosse Fuge as original finale
Op. 131 c#
Op.133 Grosse Fuge published as separate work
Op. 135 F
composition of new finale for Op. 130
-Opp.127 and 132 have large-scale slow movements as “center of gravity”, extended
contrapuntal dance movements, simple finales, an overall lyrical expressive tone
-Heiliger Dankgesang in Op. 132: hymn tune in lydian mode
-Opps. 130 and 131 contain ambitious fugues, slighter folk-like dance movements,
multiple slow movements, extended heavyweight finales
-Op. 135 has famous instrumental recitative: “Muss es sein?” and “Es muss sein!”
- claim of unity through all five quartets, particularly underlying motivic unity of middle
three through motive g#-a-f e
Op.130
I.Adagio ma non troppo – allegro (Bb)
II. Presto (b flat minor)
III. Andante con moto, ma non troppo (poco scherzando) (Db)
IV. Alla danza tedesca – allegro assai G
V. Cavatina – adagio molto espressivo Eb
VI. Grosse Fuge (Bb) – original Galitzin version
VI. Finale Allegro (Bb) – 1826 version
Features of Cavatina
- ternary song form
- envoicement of instruments, reference to opera(cavatina means short aria without da
capo; example is “Porgi amor”), lyrical style
- central, brief “beklemmt” section (means anguished, oppressed) – breaks, sobs in
“voice”