The last quartet of this series starts with a slow introduction, marked “andante con moto,” that is a harmonic labyrinth and not in any key at all, but which yields to a lively C Major first subject in 4/4 marked “allegro vivace.” Quartet lovers of the time would have immediately connected this with Mozart’s famous C Major Quartet, K. 465, known as the “Dissonant” Quartet because of its opening. Lou intended this quartet to be a break from the first two very serious quartets. The second subject is in the correct G Major. The exposition is repeated. By this time you’ll understand why this quartet was such a huge hit from the first performance. Development is based on the first subject and its rhythmic underlay. Lou re-composes his recap and deepens the harmonies. The coda is based on the rhythmic figures.
Cellists would happily kill to play the second movement of this quartet. It’s a kind of barcarolle in A minor, marked “andante con moto quasi allegretto,” and in sonata format. The cello plays sinister pizzicato passages that sound like someone sneaking up on you. The theme here is more Jewish than Russian sounding. The second subject is in a brighter C Major.
The minuet is marked “grazioso” in 3/4, and it’s only a distant echo of Haydn and Mozart. Beethoven is marking his own territory. It leads into...
A finale in 2/2 marked “allegro molto," and it’s a fugue! The violist starts the fugue like a pace car at a race, and this movement works well at almost any speed. Beethoven’s metronome marking, however, is insanely fast. These guys take it at a medium pace. Just when you think he is going to end the piece, Lou drops the subject off a cliff, and you lean forward waiting for it to go splat – which it doesn’t! If you want to know why audiences go crazy at the end, just listen. He gives you an amazing sense of release.
Tomorrow night it’s a set of Beethoven variations for piano and cello.
Thanks, Publius, for sharing Beethoven. ((HUGS))