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.