be regretted that it is not more frequently heard. There are one or two
places where the sunny sky is slightly overcast, but on the whole, it
is a work brimful of youthful happiness. The _Andante_, somewhat frail,
is like the _Finale_, full of fine melody, and gay with optimistic
feelings of youth.
3rd SONATA, Opus 12, No. 3, in E flat.
_Allegro con spirito--Adagio con molto espressione--Rondo._
The tuneful, breezy _Allegro_ contains some brilliant work for the
piano. The _Adagio_ seems hardly deep enough to carry its broad time
with dignity. The delicate Finale--short, simple, and tuneful--is well
rounded off.
4th SONATA, Opus 23, in A minor and major.
_Presto--Andante--Scherzo--Allegro molto._
This Sonata, published in 1801, and dedicated to the Count Moritz von
Fries, is one of the more serene works of the "first-period" style.
Its charms are not readily apparent, but it is full of interest to
the serious musician. The subjects of the opening _Presto_ are not
very distinguished. The composer seems to have felt this, and has
consequently introduced an unusual amount of new matter into the
development section. The gentle, placid _Andante_, with its eloquent
rests, has some unusual passages, notably the bridge (bar 33) where
a definite theme is treated fugally in three parts. The Finale,
undefined, strange and unusual, possesses that weird note which so
frequently sounds in Schumann's pieces. The key of A minor seems
to possess the right key-colour for this bustling, indefinite, and
somewhat uneasy sort of mood. In this direction, one calls to mind
the _Kreutzer Sonata_, with which this movement has much in common.
There are more subtle reminiscences; the new theme in semibreves,
which plays such a great part in the middle of the Rondo, recalls the
fugal _Finale_ of Mozart's _Jupiter Symphony_. The powerful _Coda_
recalls all the foregoing moods. The movement is very valuable from the
psychological point of view, for Beethoven was at the age of 31 years.
5th SONATA, Opus 24, in F.
_Allegro--Adagio molto espressivo--Scherzo--Rondo._
This graceful and happy Sonata, also published in 1801 and dedicated,
like its predecessor, to the Count Moritz von Fries, is the most
popular in the "early-period" style. The first movement is full of
serene happiness. The Adagio has a lovely theme, dreamy and languorous
as a summer's day. The _Scherzo_ is characteristic, full of fun and
oddity; the Rondo, full of good spirits, the chief theme being varied
at each return.
6th SONATA, Opus 30, No. 1, in A.
_Allegro--Adagio molto espressivo--Allegretto con variazioni._
This is the first of a set of three Sonatas dedicated to the Kaiser
Alexander I. With this Opus the true individuality of Beethoven is
manifested. Although the opening of this work is not particularly
striking, yet the movement has a clarity of style and delicacy of
workmanship together with distinct melodic charm. The theme of the
_Adagio_ is of great beauty, caressing in its tenderness. For the
_Finale_, Beethoven turns to his beloved Variations form. This was not
the original Finale which was "lifted" in a moment of haste to form
the conclusion of the Kreutzer Sonata. Still, one cannot deny that the
present variations suit this charming poetical sonata much better than
the _Finale_ of the _Kreutzer_ would have done.
7th SONATA, Opus 30, No. 2, in C minor.
_Allegro con brio--Adagio cantabile--Scherzo--Allegro._
This favourite work is one of the great masterpieces of music.
The first and last movements sound the clear note of Beethoven's
personality--a king here comes to his own. The first movement opens
with a veritable quatrain of musical poetry. The gay martial swing
of the second subject is remarkable. Stormy episodes follow, and the
development section commences with a new idea. Conflict succeeds
conflict before the serenity of the exposition returns. The beautiful
_Adagio_ flows along with a solemn majesty, although there are one or
two short dramatic points. The _Scherzo_, bright and tuneful, somewhat
naive, does not give us the fulness of the real Beethoven which we get
in the sombre, energetic and passionate _Finale_.
8th SONATA, Opus 30, No. 3, in G.
_Allegro assai--Tempo di Minuetto--Allegro vivace._
After the stormy power and the serene beauties of the Sonata in C
minor (a key which always called forth Beethoven's best) this Sonata
appears somewhat colourless. The long-drawn _Tempo_ _di Minuetto_ is a
little tedious, whilst the first and last movements, though vigorous
and well varied in mood, by no means give us the deep Beethoven of the
C minor Sonata. The scoring of many of the passages is unusually thin,
and reminiscent of Haydn not at his best.
9th SONATA, Opus 47, in A.
Dedicated to Rudolph Kreutzer.
_Adagio--Presto--Andante con variazioni--Presto._
Though absurdly over-estimated, perhaps on account of Tolstoy's stupid
novel, this still remains one of the great masterpieces in music.
Commissioned by a Mulatto violinist named Bridgetower, and written, as
the original title-page says, "in a specially brilliant style," it was
first given at 8 o'clock on a May morning in 1803 in the Augarten at
Vienna, with Beethoven at the piano and Bridgetower with the violin.
The Sonata opens with a majestic introduction, ending on a dominant
pause. Tradition has it that Bridgetower improvised a cadenza here and
that Beethoven approved. Amongst the whirl and excitement of the bold
and vigorous opening _Presto_, the hymn-like second subject stands
out with a marvellous way. Nothing is lost of the tenderness of the
_Andante_ in the brilliant variations which follow it, and this is all
the more wonderful because this piece is the most virtuoso-like of all
Beethoven's chamber-music. Tenderness with Beethoven is no maudlin
sentiment, but the gentle sympathy of a strong man. The Tarantelle-like
_Finale_ originally belonged to the Sonata of Opus 30, No. 1, A major,
but, as Beethoven had been dilatory in his commission, the time having
arrived and no _Finale_, he took the _Finale_ from the earlier Sonata
and wrote a new one for it later on.
10th SONATA, Opus 96, in G.
_Allegro moderato--Adagio espressivo--Scherzo allegro--Poco Allegretto._
This was written in 1810 and dedicated to Beethoven's firm friend and
patron, the Archduke Rudolph. Although not really characteristic of the
master's latest style, which does not commence until Opus 106, yet it
is the most intimate of all the violin sonatas. It stands amongst the
very great works and is indeed in some ways superior to the C minor.
The _Adagio_, calm and sublime, is one of the most beautiful things in
music. The scoring is like that of a string quartet. The ending dies
away and creeps almost imperceptibly into the _Scherzo_ through an
unexpected C sharp. Full of life and bubbling over with fun, it has a
jolly _trio_ and a _coda_ of its own. The _Finale_ touches every mood
from gay to sad, from lively to severe. The lovely _Adagio_ makes a
re-appearance in it, but the gay mood wins, for with a freakish little
_Presto_ the Sonata is brought to a triumphant close.
THE STRING QUARTETS
THE STRING QUARTETS
1st QUARTET, Opus 18, No. 1, in F.
Dedicated to Prince Lobkovitz.
_Allegro con brio--Adagio affettuoso ed appassionato--Scherzo--Allegro._
Composed in 1800 at the age of 30, this first set of quartets belongs
to the same period as the great C minor Symphony, No. 5. The music of
No. 1 is Mozartian in type, very charming, and the scoring is light and
graceful. The _Adagio_ is very beautiful, and one can feel in it the
future Beethoven. Indeed we almost arrive at maturity in the episode in
D flat in the _Finale_, where Beethoven uses the melody which he again
took up in his ballet "The Men of Prometheus" and in his Third Symphony.
2nd QUARTET, Opus 18, No. 2, in G. major.
_Allegro--Adagio cantabile--Scherzo--Allegro molto quasi Presto._
This quartet is even more like Mozart and Haydn than No. 1, except for
the fact that Beethoven keeps his music in rather higher registers. The
_Adagio_ is not so Beethovenish as the slow movement of No. 1, but it
contains an episode marked Allegro. The _Finale_ is full of spirit, but
it is not the Beethoven in the "unbuttoned" mood of the later works.
There is some effective work for the G string on the 1st Violin, for
Paganini had already cast his glamour over Europe.
3rd QUARTET, Opus 18, No. 3, in D.
_Allegro--Andante con moto--Allegro--Presto._
This beautiful quartet, composed a year later than the first two,
already points to the maturity of the second period, especially in the
first movement. The _Andante_ opens with a lovely melody for the 2nd
Violin on the G string; restraint and broadness in playing should be
the player's aim here. Parry refers to the fine balance of form in this
Quartet in his article in Groves' Dictionary. The _Scherzo_ is here
marked _Maggiore--Minore--Maggiore_. The _Presto_ is full of Beethoven
spirit and handling, in one passage in particular, having spaciousness,
which is such a striking feature in the final quartets.
4th QUARTET, Opus 18, No. 4, in C minor.
_Allegro ma non tanto--Scherzo--Menuetto--Rondo._
Written in Beethoven's favourite key, C minor, this quartet is
remarkable for its melodiousness. It has no slow movement and contains
both a Scherzo and a Minuet, the former marked Andante Scherzoso quasi
Allegretto and opening in a Fugato style reminiscent of the Andante of
the First Symphony. Both this and the Minuet contain the characteristic
Sforzandi, especially that on the third beat of triple time. The
Prestissimo Coda brings the Finale to a powerful conclusion.
5th QUARTET, Opus 18, No. 5, in A.
_Allegro--Minuet--Air and Variations--Allegro._
This quartet is chiefly remarkable for its lovely _Andante_ and set of
variations on the beautiful theme which has all the natural feeling
of a genuine folk-song. The first variation is _Fugato_; the second
has sparkling triplets for the 1st violin; the third woodland murmurs,
whilst the cellos and violas occupy themselves with the melody.
The fourth is organ-like in treatment, whilst the final one starts on
a boisterous scamper home, which ends, however, in a melancholy, dreamy
meditation. The _Finale_ is Mozartian.
6th QUARTET, Opus 18, No. 6, in B flat.
_Allegro con brio--Adagio ma non troppo--Scherzo--La
Malinconia--Allegretto quasi Allegro._
This favourite quartet, composed in 1800, has five movements; whereas
the fourth quartet has no slow movement.
The arrangement of the five movements seems to suggest some sort of
carefully-arranged "programme;" but woe always overtook the man who
dared to attach a definite story to any of the music in these pieces in
Beethoven's lifetime. The opening movement, full of vitality, and asks
for _spiccato_ bowing. It is very light in texture. The first _Adagio_
is full of graceful tunefulness, somewhat elaborate in texture, and
containing many characteristic touches of expression; so too, does the
_Scherzo_. The second slow movement _Adagio_, entitled by Beethoven _La
Malinconia_ (grief), is one of Beethoven's most moving pieces of music.
Knowing here that he was entering into new territory, he especially
marks such movements to be played with the greatest feeling _più gran
delicatezza_. This movement runs directly into the final _Allegretto_,
which indeed returns to it twice, as though unable to throw off
completely the bitter taste of those sad moments.
7th QUARTET, Opus 59, No. 1, in F.
No. 1 of the set dedicated to Count Rasumovsky.
_Allegro--Allegretto Vivace e sempre Scherzando--Adagio molto e
mesto--Thème russe con Variazioni._
This fine but difficult quartet, sometimes called the Cello Quartet
on account of the prominence given to this instrument, was written
in 1806. The Count himself is supposed to have played the cello, and
the set of variations on the Russian song used for the _Finale_ was a
second compliment to Beethoven's noble Russian patron. Beethoven took
his theme from the Prabst collection, 1815, which is not now published,
having been superseded by Rimsky-Korsakoff's fine collection. The theme
is found there (No. 13) marked _Andante_ and the Russian words may be
translated--
Ah, is this my fate?
And what a fate!
The technique and the subject matter is very much more advanced.
The first movement contains a remarkable unison passage for the
full strings, some remarkable high work for the 1st violin and some
wonderful colour effects. The _Allegretto_ is a busy, gossipy movement
in B flat. The _Adagio molto_ is a typical Beethoven _Adagio_. It is
the real thing. It runs into the Finale through a long and difficult
cadenza for the 1st Violin over a dominant pedal. The ending of the
quartet contains some very full effects and is almost orchestral in
style.
8th QUARTET, Opus 59, No. 2, in E minor.
_Allegro--Adagio--Allegretto--Finale._
The second quartet of the Rasumovsky set is even more elaborate
than the first. The opening movement, though containing some dark,
passionate moods akin to the _Appassionata Sonata_, is nevertheless
happy and delicate in tone. Its technical requirements are great.
The quartet opens with two strong chords, then a silent bar, which
the composer fills in curiously enough in the recapitulation. The
lovely long-drawn Adagio in E major is marked by Beethoven _con molto
di sentimento_ (with great feeling). Here again he is in his new
territory. It is as though he said to the players, "Wake up! this is
an entirely new kind of music." The playful _Allegretto_ introduces
another Slav folk-song, which can be found in Rimsky-Korsakoff's
collection (No. 45). It is sacred and majestic in tone, a song of glory
to the Creator. It forms the major _trio_ portion, which is carefully
welded on to the return of the opening minor movement. The _Finale_
represents Beethoven's very happiest mood. It starts clean out of the
key in C major. Seldom is Beethoven so happy as we find him here in the
_Finale_, which although written in the sharp signature throughout, is
really in the key of C major; the episodes only and the coda only just
managing to restore the balance of E minor.
9th QUARTET, Opus 59, No. 3, in C major.
_Introduzione--Allegro vivace--Andante con moto--Menuetto--Allegro
molto (Fuge)._
This, the third of the Rasumovsky set, was composed in 1806. Starting
clean out of the key, a few bars of _Andante_ introduction gradually
lean towards C major. The first movement is remarkably clear and
lucid in style and finely coloured in harmony. Beethoven is in one of
his happiest moods. The exquisite _Andante_ in A minor opens with a
_pizzicato_ bass and ends in the same manner. It is a highly finished
movement. The Minuet is of the stately dance order and appears in the
tonic key C major. The coda to it ends on the dominant seventh, thus
bringing in the remarkable spiccato Fugue which Brahms played from
memory as an encore at a concert in Vienna in 1867. The _Una Corda_ set
of entries preserving the homogeneity of tone and adding greatly to the
effect of the intensity of the _crescendi_ is particularly fine.
10th QUARTET, Opus 74, in E flat.
_Poco adagio--Allegro--Adagio ma non troppo--Presto--Allegretto con
variazione._
This remarkable quartet, composed in 1809 and dedicated to the Prince
Lobkovitz, is widely known under the title of the Harp Quartet on
account of the remarkable pizzicato arpeggios in the opening Allegro.
A short introduction is marked _sotto voce_. The _Allegro_ contains
a brilliant cadenza for the Violin--Beethoven's only excursion into
the virtuoso field in chamber music. The very beautiful _Adagio_ is
Beethoven at his very best, whilst the _Presto Scherzo_ is curious
in form, being arranged with varying _tempi_, thus, on the following
plan:--_Presto_ C minor, _Più Presto-Trio_ C major, C minor, _Presto_
repeated, and again the C major, finishing with the C minor. This leads
without break into a set of six variations: the second, notable for
its lovely viola melody; and the sixth, organ-like in character over a
cello pedal-point.
11th QUARTET, Opus 95, in F minor.
_Allegro con brio--Allegretto ma non troppo--Allegro assai vivace ma
serioso--Allegretto agitato._
This quartet is dedicated to Count Zmeskal, Beethoven's willing
secretary and man of affairs. Here in this work which stands on the
border line between Beethoven's second and third styles, we have the
gruff and brooding Beethoven. The somewhat short opening movement
is full of intense feeling. The _Allegretto_ is calm and religious,
ethereal in tone and contains a fine fugato passage. The third
movement, which takes the place of a _Scherzo_, is dark in feeling
and pervaded with gloom. A short _Larghetto_ introduction leads into
the _Finale_ agitated and restless in character, but ending with a
brilliant gleam of sunshine.
12th QUARTET, Opus 127, in E flat.
Dedicated to Count Nicolas von Galitzen.
_Maestoso--Allegro--Adagio--Scherzando vivace--Finale._
Although probably published before his death, this quartet is generally
classed with the posthumous ones which represent fully Beethoven's
third style. Although all these quartets contain many orchestral
effects, yet he never exceeds the limits of the true string quartet
style. To say that string quartet writing is only an imperfectly
filled-in sketch of orchestral idium is not correct; otherwise, when
Beethoven had four instruments at his disposal, would he have written
some of those spacious passages for three, or even two instruments only?
The opening movement has a double subject--the _Maestoso_ introduction
accompanying the _Allegro_ subject on every appearance. The _Adagio_ is
dreamy in mood and has a touching _Andante_ episode, also a striking
excursion to E major before the final return. The _Scherzando vivace_,
which must not be taken too quickly, is also a striking example of
Beethoven's characteristic contrapuntal writing and contains a passage
in Beethoven's famous _Ritmo di tre battute_ (Rhythm of three bars);
another instance of this occurs in the _Ninth Symphony_. The tempo
is constantly changing throughout and the highly dramatic music,
free in style, settles down more into a lyric and rhythmic style for
the _Finale_, the long _coda_ of which is extremely characteristic,
starting right away from the key.
13th QUARTET, Opus 130, in B flat.
Dedicated to Count Nicolas von Galitzen.
_Adagio ma non troppo--Allegro--Presto--Andante con moto--Danza alla
tedesca--Cavatina--Finale._
This quartet, written in 1825, is one of Beethoven's longest, and
contains six movements. The opening piece carries its _Adagio_
introduction through all the appearances of the _Allegro_ subject.
The second subject is of wonderful beauty. The development section
very short. The unusual _Presto_ in B flat minor very succinct; is the
nearest approach to Brahms. The _Andante_ is really a _Scherzo_ treated
like an _Andante_ in form. The third movement is cast in the rhythm
of a German country dance; the theme is varied on its re-appearance.
The famous _Cavatina_ has a remarkable _beklemmt_ (fear) episode and
a wonderful _Bebung_ chord at the close. The lovely second subject
of The _Finale_ has been used by Borodin as a theme in the _Finale_
of his Second Quartet. There is a very proper little Fugue in the
development portion. The original _Finale_ was published separately as
Opus 133; it is a terrificly long-drawn Fugue and is regarded as almost
incomprehensible by even the most ardent admirers of Beethoven's third
style.
14th QUARTET, Opus 131, in C sharp minor.
Published in 1827.
_Adagio--Allegro molto vivace--Allegro moderato--Andante--Presto._
Although marked off in separate movements, this quartet is practically
one long continuous piece. It opens with a mystic Fugue, organ-like in
character and contains several fine enharmonic changes of key. At the
_Allegro molto vivace_ the tonality is lifted a semitone. This movement
is light in character and simple in texture, almost Mozartian. An air
with variations is approached by a _recitative_ and introduction. This
is followed by a _Presto_, where Beethoven appears in one of his joking
moods. The _tempo_ here alters continually, then comes a short _Adagio_
section, a lamentation broken off by one of Beethoven's gruff shrugs,
and the last movement opens with a clearly marked theme in happy mood.
Strongly contrasted portions occur from time to time, but the work ends
triumphantly.
15th QUARTET, Opus 132, in A minor.
_Assai sostenuto--Allegro--Allegro ma non tanto--Molto
adagio--Andante--Alla marcia--Allegro appassionata._
The opening movement is on the same lines as that of the preceding
quartet. Moods change constantly and the development is of the freest
kind; there are two parts to the second subject, one a vivacious little
figure, two a short singing phrase. The _Allegro_ in A major is in
ternary form and takes the place of the _Scherzo_. Then follows that
remarkable movement in the Lydian mode headed "A convalescent's sacred
song of thanksgiving to the divinity." This interesting modal piece was
written after the composer's illness. The variations of it alternate
with the _Andante_ in D major, thus producing striking contrasts of key
colour. The final _Allegro_ is in free Sonata form.
16th QUARTET, Opus 135, in F major.
_Allegretto--Vivace--Lento assai--Grave ma non troppo tratto._
This quartet is on a much smaller scale. The opening movement, whilst
characteristic of the third period, is easily comprehended. The subject
of the slow movement is one of Beethoven's most beautiful melodies, and
the _Finale_ commences with the famous musical motto--
"_Must it be?
It must be_"
founded on a little altercation with his cook.
The movement is characterised by some very perverse part-writing.
These final quartets present many problems, even to the most profound
students of Beethoven's works.
BIBLIOGRAPHY
BIBLIOGRAPHY
If one wishes to know Beethoven better, reference should be made to the
principal biographies and other works on Beethoven, of which we give a
brief list:--
I.--FOR BEETHOVEN'S LETTERS.
LUDWIG NOHL.--_Briefe Beethovens_, 1865, Stuttgart.
LUDWIG NOHL.--_Neue Briefe Beethovens_, 1867, Stuttgart.
LUDWIG RITTER VON KOECHEL.--_83 Original Briefe L.V.B. an den
Erzherzog Rudolph_, 1865, Vienna.
ALFRED SCHOENE.--_Briefe von Beethoven an Marie Graefin Erdödy geb.
Graefin Niszky und Mag. Brauchte_, 1866, Leipzig.
THEODOR VON FRIMMEL.--_Neue Beethoveniana_, 1886.
_Katalog der mit der Beethoven--Feier zu Bonn, an II.--15 Mai, 1890,
verbundenen Ausstellung von Handschriften, Briefen, Bildnissen,
Reliquien Ludwig van Beethovens._ Bonn, 1890.
LA MARA.--_Musikerbriefe aus fünf Jahrhunderten._ Leipzig, 1892.
DR. A. CHRISTIAN KALISCHER.--_Neue Beethoven, Briefe_. Berlin and
Leipzig, 1902.
DR. A. CHRISTIAN KALISCHER.--_Beethovens Sämmtliche Briefe._
Kritische Ausgabe mit Erläuterungen, 5 vol. Leipzig and Berlin,
1906-1908.
DR. FRITZ PRELINGER.--_Beethovens Sämmtliche Briefe und
Aufzeichnungen_, 3 vols. Vienna and Leipzig, 1907.
By far the most useful books for the English reader, and, indeed, for
any reader, are the two splendid volumes of _Beethoven's Letters_. A
critical edition with explanatory notes translated from Kalischer by J.
S. Shedlock. (London: J. M. Dent & Co., 1909).
The translation of the letters contained in this present volume have
been taken from that work by kind permission of the author and the
publishers.
A good selection from these letters, issued in one volume at a
moderate price, would be a great boon to English readers.
II.--FOR BEETHOVEN'S LIFE.