University of Missouri--Columbia chamber music series : the Esterhazy Quartet
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"Ludwig von Beethoven (16 December 1770 to 26 March 1827) is an important composer. His nine symphonies, 32 piano sonatas, violin concerto, five piano concerti, overtures, and many other pieces are important contributions to musical literature Beethoven's style is a progression which begins with the Classical style with its emphasis on form and leads to the Romantic style notbale for use of expanded formal structures, more chromatic harmonies and key relationships, a wider variety of rhythmic patterns and programmatic assocations. The sixteen string quartets are among the finest in that genre and typify the development of Beethoven's style. In Germany, the Second Quartet of the six in Beethoven's Opus 18 is known as the "Compliments Quartet". The set dates from 1798-1800 and is dedicated to Prince Josef von Lobkowitz, a patron of Beethoven. The quartets were first performed in the Prince's palace. The second Quartet, a four-movement work, fits the pattern on expects in a multi-movement sonata form. The first movement is in single-movement sonata form (sometimes called "sonata-allegro") in the tonic key of G Major. The exposition closes with a codetta based on the first theme. This theme also opens the development section. A fugato in the development section adds to the interest. A rhythmic canon with the cello predicting the return of the A theme sets up the recapitulation with new imitation in the second biolin. The second movement is in ternary form in the subdominant key, C Major. The sections are delineated by the change from triple meter to duple meter and back. In his sketchbooks, Beethoven had the first theme in common time in an early draft. The third movement is a scherzo in the tonic key, G Major, in compound ternary form. The trio (in C Major) has more lyric quality than the spritely scherzo. The finale is also in the tonic key and in single-movement sonata form. The development opens in Eb Major (a Neapolitan or half-step, relation to the D Major close of the exposition). It closes with a false recapitulation in Ab Major (a Neapolitan relation to the tonic, G). A coda based on the first theme closes the movement. The entire composition is interestingly characterized by chromaticism."--Program notes.
Table of Contents
Quartet in G Major, Opus, No. 2 -- Quartet No. 3 -- INTERMISSION -- Quartet in B flat Major, Opus 67