When did Beethoven write his first string quartet?
Beethoven’s opus 18 quartets are his earliest compositions for the medium, written in the closing years of the 18th century, when he was in his late twenties. The second of these quartets, in G major, is a case in point.
When did Bartok write his fourth string quartet?
[Bartok] composed his Fourth Quartet in 1928. Considered by many to be among his very greatest compositions, it represents in some sense an extreme case. Taut, economical, almost geometrical in its arguments, it is music that wastes not a single note, and thus conveys a kind of athletic exuberance.
Is the Op 51 No.2 in a minor a Schubert Quartet?
The Op. 51 No. 2 in a minor must have somewhere in its ancestry the Schubert quartet in the same key. A minor was a particularly evocative key for Schubert, lonely, bereft and lyrical. Brahms’ Third Quartet truly sounds like the work of a man on his summer holiday.
Beethoven worked painstakingly for two years to produce his first string quartets, Op. 18, published in 1801 in the fashion of the time as a set of six. Pre-dating them are the complete string quartets of both Haydn and Mozart, Haydn having written his last two complete quartets in the same years, finishing in 1799.
What kind of music does Beethoven play in the C minor?
C minor is often regarded as “the” minor key for Beethoven, the same he chose for such works as the earlier “Pathétique” piano sonata, the later fifth symphony and his final piano sonata, Op. 111. One of the most popular quartets, this one is full of drama revolving around the gravity of its ruling minor mode.
Is there a string quartet in C minor?
String Quartet No. 4 in C minor, Op. 18/4. Share on. The only quartet from Beethoven’s Opus 18 set to be cast in a minor key, this was also, despite its number, the last of the six to be completed. C minor would come to be a key Beethoven reserved for highly dramatic works, including most famously the Fifth Symphony.
What is the theme of Beethoven’s second movement?
A tense development and conclusion emphasize the “tragedy” of ultimately returning to the minor key. The second movement relieves the tension with an experiment unique for a string quartet of the time showing that Beethoven was already tinkering with the form he inherited.