Assai sostenuto—Allegro—Allegro ma non tanto—Molto adagio—Andante—Alla marcia—Allegro appassionata.
The opening movement is on the same lines as that of the preceding quartet. Moods change constantly and the development is of the freest kind; there are two parts to the second subject, one a vivacious little figure, two a short singing phrase. The Allegro in A major is in ternary form and takes the place of the Scherzo. Then follows that remarkable movement in the Lydian mode headed "A convalescent's sacred song of thanksgiving to the divinity." This interesting modal piece was written after the composer's illness. The variations of it alternate with the Andante in D major, thus producing striking contrasts of key colour. The final Allegro is in free Sonata form.
16th Quartet, Opus 135, in F major.
Allegretto—Vivace—Lento assai—Grave ma non troppo tratto.
This quartet is on a much smaller scale. The opening movement, whilst characteristic of the third period, is easily comprehended. The subject of the slow movement is one of Beethoven's most beautiful melodies, and the Finale commences with the famous musical motto—
"Must it be?
It must be"
founded on a little altercation with his cook.
The movement is characterised by some very perverse part-writing.
These final quartets present many problems, even to the most profound students of Beethoven's works.