BEETHOVEN! - Chamber Music New Zealand

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Kaleidoscopes 2012 10. String Quartet in F minor Opus 95 ‘Quartetto serioso’ Allegro con brio Allegretto ma non troppo - attacca: Allegro assai vivace ma serioso Larghetto espressivo - Allegretto agitato Following the rejection of his marriage proposal by the much younger Therese Malfatti, to whom he had given the autograph score of Für Elise, Beethoven spent the summer of 1810 in Baden, a resort outside Vienna. While there he worked on the String Quartet Opus 95 and the ‘Archduke’ Trio Opus 97, the only signifi cant compositions begun that year. The autograph score of Opus 95 is dated October 1810, but recent studies suggest that it was revised extensively in 1814, before its fi rst performance. It is dedicated to its copyist, Nikolaus Zmeskall von Domanovecz (1759 - 1833), a civil servant, amateur cellist and one of Beethoven’s most loyal friends. The title ‘serioso’ (Beethoven’s own) refers to the quartet’s ‘learned’ style. He was curiously reticent about promoting it, and in 1816, the year of its publication, wrote to Sir George Smart in London: “NB. The Quartet is written for a small circle of connoisseurs and is never to be performed in public”. The Allegro con brio [lively and spirited] fi rst movement is remarkable for its economy. The brief fi rst theme introduces a distinctive semiquaver fi gure, while the second is lyrical and fl owing, underpinned by very simple harmonies. Gruff scales in remote keys are used as bridge passages throughout. The recapitulation cuts the fi rst theme short and focuses on the lyrical second subject, ending with a dramatic interrupted cadence and a vigorous coda. The Allegretto ma non troppo [lively but not too much so] continues the subdued mood with a restrained cello solo, leading to a beautifully sensitive theme. After the terse fi rst movement, the Allegretto is spaciously constructed in a broad arch around a central fugal section, which contains a restful interlude based on the opening solo. Following a wistful cadence, a bare octave D and a diminished seventh lead straight into the scherzo. The Allegro assai vivace ma serioso [very lively but serious] is a fi erce dance with two motifs: a three note fi gure and a scale passage. The Trio is a complete contrast, with a cantabile melody, accompanied by continuous quavers, moving fl uidly through a series of remote keys. After a mysterious Larghetto espressivo [slow and expressive] introduction, the Allegretto agitato [somewhat lively and agitated] is a well-proportioned sonata rondo, based around a lightly scored, rhythmic theme. Not a second is wasted in its relentless motion towards an ending in F major, thwarted at the last moment by a brilliantly airy coda.
String Quartet in C Opus 59 No 3 Introduzione. Andante con moto - Allegro vivace Andante con moto quasi allegretto Menuetto. Grazioso - attacca: Allegro molto In the summer of 1806, Beethoven threw himself into composing a series of great instrumental works, including the Fourth Symphony, the ‘Appassionata’ Sonata and the three Rasumovsky Quartets. After a long struggle with his opera Leonore he was in an optimistic mood and ready for fresh challenges. Above his sketches for Opus 59 No 3 is written: “Just as you plunge yourself here into the whirlpool of society, so in spite of all social obstacles it is possible for you to write opera. Your deafness shall be a secret no more, even where Art is involved!”. After an atmospheric introduction of slowly shifting chromatic harmonies, the lively Allegro vivace [lively and spirited] has the impact of a fresh gust of wind. Full of vigorous passage work, fugato entries, and extended trills, the lengthy exposition leads to a short but eventful development section. The gently elegiac Andante con moto [at a fl owing pace] in A minor is one of Beethoven’s most haunting slow movements. While the theme is original, the violin harmonies, coupled with pizzicato pedal points, create a Slavonic mood. It was in the slow movements of Opus 59 Nos 1 and 3 that Beethoven fi rst realised the emotional possibilities of pizzicato, and the carefully shaded cello line has a hypnotic eff ect. The opening of the Menuetto [minuet] harks back to the 18th century in its graceful symmetry, but the rapid fi guration and carefree passing of the melody from voice to voice makes it clear that this is not a run-ofthe-mill dance movement. Also, unlike the classical minuet, cadences frequently fall on the third beat of the bar, giving a charmingly breathless quality. An unexpected coda in a minor key adds a note of mystery, before plunging headlong into the fi nale. The Allegro molto is one of Beethoven’s most irresistable fi nales. Written in the moto perpetuo style, the motion is not just perpetual, but at times precipitous. Using a typical combination of rapid rhythm and slow harmony, the theme is so long that it only allows for two complete statements: at the beginning, and at the start of the recapitulation, which is further enlivened by a countersubject. A dramatic pause leads to a teasingly extended coda, before rushing to its inevitable conclusion. <strong>New</strong> <strong>Zealand</strong> String Quartet 11.
Page 1 and 2: Chamber Music New Zealand Presents
Page 3 and 4: Message from the tour sponsor The L
Page 5 and 6: Programme One Beethoven String Quar
Page 7 and 8: the Best Classical Album at the 201
Page 9 and 10: String Quartet in F Opus 59 No 1 Al
Page 11: String Quartet in E fl at Opus 74
Page 15 and 16: wrote to himself: ‘Just as you fa
Page 17 and 18: 1809 1811 1812 Rev Samuel Marsden c
Page 19 and 20: A Special Thank You to all our Supp

BEETHOVEN! - Chamber Music New Zealand

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