After the C-sharp minor quartet, the last quartet—in F major, opus 135—appears outwardly simple. It shares with the first of the series simplicity and regularity of form; and is, like the quartet in E-flat major, calm and outspoken, rather than disturbed, gloomy, or mysterious. It is the shortest of all the last quartets.
The first movement is in perfect sonata form. The first theme (viola) has a gently questioning sound, which one may imagine mocked by the first violin. The second theme, in C major, is light, almost in the manner of Haydn. The movement builds itself logically out of the opposition of these two motives, the one a little touched with sadness and doubt, the other confidently gay. The Scherzo which follows needs no analysis. Two themes, not very different in character, are at the basis. The second is presented successively in F, G, and A, climbing thus ever higher. The climax at which it arrives is noteworthy. The first violin is almost acrobatic in the expression of wild humor, over an accompaniment which for fifty measures consists of the unvaried repetition of a single figure by the other three instruments in unison. Following this fantastical scherzo there is a short slow movement in D-flat major full of profound but not tragic sentiment. The short theme, flowing and restrained, undergoes four variations; the second in C-sharp minor, rather agitated in character; the third in the tonic key, giving the melody to the 'cello; and the fourth disguising the theme in short phrases (first violin). To the last movement Beethoven gave the title, Der schwer gefasste Entschluss. Two motives which occur in it are considered, the one as a question: Muss es sein? the other as the answer: Es muss sein. The former is heard only in the introduction, and in the measures before the third section of the movement. The latter is the chief theme. Whether or not these phrases are related to external circumstances in Beethoven’s life, the proper interpretation of them is essentially psychological. The question represents doubt and distrust of self. The answer to such misgivings is one of deeds, not words, of strong-willed determination and vigorous action. Of such the final movement of the last quartet is expressive. Such seems the decision which Beethoven put into terms of music.
FOOTNOTES:
[70] The famous Schuppanzigh quartet met every Friday morning at the house of Prince Lichnowsky. Ignaz Schuppanzigh (b. 1776) was leader. Lichnowsky himself frequently played the second violin. Franz Weiss (b. 1788), the youngest member, hardly more than a boy, played the viola. Later he became the most famous of the viola players in Vienna. The 'cellist was Nikolaus Kraft (born 1778).
[71] Förster (1748-1823) forms an important link between Haydn and Beethoven.
[72] 2d edition, Berlin, 1913, pp. 482, et seq.
[73] Beethoven’s Streichquartette.
[74] Only Schuppanzigh himself, and Weiss, the violist, remained of the original four who first played Beethoven’s quartets opus 18 at the palace of Prince Lichnowsky. The second violinist was now Karl Holz, and the 'cellist Joseph Linke.
CHAPTER XVII
THE STRING ENSEMBLE SINCE BEETHOVEN
The general trend of development: Spohr, Cherubini, Schubert—Mendelssohn, Schumann and Brahms, etc.—New developments: César Franck, d’Indy, Chausson—The characteristics of the Russian schools: Tschaikowsky, Borodine, Glazounoff and others—Other national types: Grieg, Smetana, Dvořák—The three great quartets since Schubert and what they represent; modern quartets and the new quartet style: Debussy, Ravel, Schönberg—Conclusion.