The Classical Music Book

160

variations. The fifth jumps in with

an extensive scherzo (a fast dance).

A 28-measure adagio (leisurely)

sixth movement leads to an intense

and energetic seventh movement of

the kind that is generally placed

first in more conventional works.

Building a structure with such

unconventional foundations was a

challenge that Beethoven set for

himself. Some consider Op. 131 to

be the greatest composition of

Beethoven’s output; it cemented his

great legacy and ensured praise for

his late quartets.

Natural variations

A good example of Beethoven’s

structural ingenuity can be seen

in his handling of the theme and

variations in the fourth movement

(which builds on techniques

developed in his Diabelli variations,

Op. 120). The traditional problem

faced by composers in this form

was how to create a feeling of

natural continuity instead of the

formulaic repetition of a set theme.

Beethoven’s approach is to allow

constant evolution of the music,

even from the very outset of the

theme. It begins at the top of the

texture, as a dialogue between the

first and second violin; it is then

doubled in 10ths, before moving

down toward the middle of the

texture. When the first variation

begins with the theme in the three

lower strings, it feels like a natural

continuation of this development,

but by the end of this variation,

LATE BEETHOVEN

the theme has undergone several

transformations of rhythm as well

as texture. The second variation

begins as a gentle dance in which

melodic eighth-note phrases pass

from one instrument to another,

accompanied by detached chords,

but as the variation progresses,

the running eighth notes take over

and build to a climax with all four

instruments playing in octaves—

a different sound world altogether

from the variation’s opening. The

variations continue, punctuated by

a couple of cadenzalike first violin

flourishes recalling the “archaic”

third movement.

Thematic development also

takes place on a large scale. As in

many of Beethoven’s works (most

famously the Fifth Symphony of

1807–1808), the quartet begins with

a short four-note motif, which also

preoccupied Beethoven in his

Op. 132 quartet, although the

pitches are presented here in a

slightly different order, to unsettling

effect. This motif forms the first half

of the opening fugue subject,

which, in turn, provides many of

the motivic ideas from which the

other movements are developed.

Rousing ending

The fifth movement’s key of E major is

the optimistic sister to the sad home

key of C-sharp minor, and, following

convention, a light-hearted scherzo

alternates with a contrasting trio.

Unusually, however, Beethoven not

only extends the conventional “A-B-A”

form with a further repeat of the trio

and scherzo (as he does in several

other works) but finishes with a

curtailed repeat of each theme.

This repetition allows him

to explore various moods and

techniques, not least in a passage

played sul ponticello (with the bow

near the bridge of the instrument),

creating a glassy, delicate sound.

Typical Classical quartet

Beethoven’s Op. 131

Classical quartets generally had four movements. After

Beethoven, some Romantic quartets had more (or fewer)

movements and abandoned the usual pattern of development.

Differences between the Classical quartet

and Beethoven’s Op. 131

SPEED

1

SLOW

MODERATE

QUICK

VERY QUICK

2 3 4 5 6

MOVEMENTS

[Beethoven’s quartets]

stand ... on the extreme

boundary of all that has

hitherto been attained by

human art and imagination.

Robert Schumann

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