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.