But why attempt either analysis or description of works so patently urbane? There is no meaning hidden in them; there is no richness of sentiment; no harmonies out of new realms; no inspiration; nothing really to study. Between the first two quartets mentioned and the last in F minor there is a series of three (opus 44), one in D major, one in E minor, and one in E-flat major. There is an ‘Andante, Scherzo, Capriccio and Fugue’ for the four instruments, published as opus 81.
One turns to Schumann for a breath of more bracing air. Though Schumann was first and foremost a composer for the pianoforte, and though his quartets seem to be written in rather a pianoforte style, yet there are flashes of inspiration in the music which must be treasured, imperfect as the recording of them may be. There are three quartets, composed in 1842 and dedicated to Mendelssohn. As early as 1838 Schumann mentioned in letters to his sweetheart that he had a string quartet in mind; but work in this direction was seriously hindered by troubles with Wieck, which were growing daily more acute. The second summer after his marriage, however, work on the quartets was resumed; and the three were composed in the short time of eight weeks, the last indeed apparently in five days (18-22 July).
The first offers an harmonic innovation. The introduction is in A minor, which is the principal key of the whole quartet; but the first allegro is in F major. There is a Scherzo in A minor, with an Intermezzo, not a Trio, in C major. In these first two movements the habit of syncopation which gives much of his pianoforte music its peculiar stamp is evident: in the first theme of the allegro; in the measures which lead to the repetition of the first part; in the motive of the Intermezzo, which is rhythmically similar to the first movement and suggests some connection in Schumann’s mind. It is perhaps the prevalence in all three quartets of the rhythmical devices which we associate mostly with the pianoforte that raises a question of propriety of style. The adagio is pure Schumann, in quality of melody and accompaniment. Measures in the latter—noticeably the viola figure which accompanies the first statement of the melody—look upon the printed page like figures in a piano piece. Such figures are not polyphonic. They are broken chords, the effect of which is felicitous only on the pianoforte. The final presto suggests no little the spirit of the first and last movements of the pianoforte quintet, opus 44, which was composed in the following months. The whole movement, except for a charming musette and a few following measures of sustained chords just before the end, is built upon a single figure.
The first movement of the next quartet (in F major) likewise suggests the quintet. The style is smoothly imitative and compact; and the theme beginning in the fifty-seventh measure casts a shadow before. The Andante quasi Variazioni is most carefully wrought, and is rich in sentiment. The Scherzo which follows—in C minor—is syncopated throughout. The final allegro suggests the last movement of the B-flat major symphony, the joyous Spring symphony written not long before.
The last quartet (in A) may rank with the finest of his compositions. Whether or not in theory the style is pianistic, the effect is rich and sonorous. The syncopations are sometimes baffling, especially in the last movement; but on the whole this quartet presents the essence of Schumann’s genius in most ingratiating and appealing form. The structure is free, reminding one in some ways of the D minor symphony. But there is no rambling. The whole work is intense. There is an economy of mood and of thematic material. One phrase dominates the first movement; the Assai agitato is a series of terse variations. There is a sustained Adagio in D major; and then a vigorous finale in free rondo form, the chief theme of which is undoubtedly related to the chief theme of the first movement.
It must be admitted that Schumann’s quartets are beautiful by reason of their harmonies and melodies; that theirs is a fineness of sentiment, not of style; that the luminous interweaving of separate parts such as is found in the quartets of Haydn, Mozart, and Beethoven, is not to be found in his. He follows rather Schubert, but without Schubert’s instinct for instrumental color. So then one feels that it happened that Schumann should seek expression thrice through the medium of the string quartet; not that a certain quality of inspiration within him demanded just that expression and none other. His quartets represent neither a refinement nor an abstract of his genius. They are of a piece with his pianoforte pieces and his songs; as are likewise his symphonies. We admire and love all for the same qualities.
Brahms, who for so many reasons we may think of as taking up German music where Schumann left it, published only three string quartets. That he had written many others which he had chosen to discard before the two quartets, opus 51, were published in 1873, is evident from the note to Dr. Billroth concerning a dedication.[76] Several pianoforte quartets, and two sextets for two violins, two violas and two violoncellos, opus 18 and opus 36, are closely related to the string quartet. The sextets are especially noteworthy.
The first sextet, in B-flat major, has won more popular favor than many other works by the same composer. The addition of two instruments to the regular four brought with it the same sort of problems which were mentioned in connection with Mozart’s quintets: i.e., the avoidance of thickness in the scoring. The group of six instruments is virtually a string orchestra; but the sextets of Brahms are finely drawn, quite in the manner of a string quartet. Especially in this first sextet have the various instruments a like importance and independence.
The first theme of the first movement (cello) is wholly melodious. The second theme, regularly brought forward in F major, is yet another melody, and again is announced by the violoncello. A passage of twenty-eight measures, over a pedal point on C, follows. This closes the first section. The development is, as might be expected, full of intricacies. The return of the first theme is brilliantly prepared, beginning with announcing phrases in the low registers, swelling to a powerful and complete statement in which the two violins join. The second movement is a theme and variations in D minor. The theme is shared alternately by first viola and first violin. The variations are brilliant and daring, suggesting not a little the pianoforte variations on a theme of Paganini’s. There is a Scherzo and Trio. The main motive of the Scherzo serves as an accompaniment figure in the Trio; and the Trio is noteworthy for being entirely fortissimo. The last movement is a Rondo.
The second sextet, in G major, is outwardly less pleasing; and like much of Brahms’ music is veiled from the casual or unfamiliar listener.