Rather than a stern cross-examination of these themes, it prefers to celebrate them, in whole and in part, with very little modulatory drama or fretting in the minor mode. An even more compelling special effect is the rapid-fire cross-string figuration of the first violin, that breaks away from the pack in the coda to imagine itself a concerto soloist, until it is escorted gently back down to earth by the other instruments.
The second movement Adagio ma non troppo is a lyrical rondo with an expansive cantabile refrain melody in the major mode that recurs in ever more embellished form after diversions into minor-mode territory. The scherzo Presto that follows is a jittery jaunt through motivic territory that combines daredevil leaps and stepwise cross-chatter.
David Shifrin - Music
And like the Fifth Symphony, as well, instead of letting his scherzo off-leash to drive to its headlong conclusion, Beethoven tapers it down at the end, ever softer, to graft it into his finale. This final movement offers up a polite and well-behaved theme, divided up into cutesy bite-sized phrase groupings, each straddling the bar-line in the style of a gavotte. A whirlwind coda rushes towards a triumphant finish but at the last moment Beethoven pulls it up short to simply blow out the candles on this quartet with two light puffs of chordal harmony. Skip Content? Stay Tuned! Sign up to get free in-depth coverage on up and coming artist and more!
Donald G. Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. The Quartet which has been labelled 'The Harp' on account of some arpeggiando pizzicato passages in the first movement opens with a contemplative introduction in which the key of E flat is made to have introspective tendencies, with a pull towards the sober subdominant, A flat, in which key the slow movement will fall.
The Allegro, dignified and confident, immediately displays a similar tendency towards the subdominant and the celebrated pizzicati soon follow.
String Quartet No.10, Op.74 (Beethoven, Ludwig van)
The development contains a wonderfully exultant C major treatment of the main theme, and the coda creates one of the most original and powerful passages in quartet writing — the first violin breaks out into brilliant bravura, as if he were suddenly the soloist in a concerto, and while he lets fly the texture thrillingly deepens and solidifies beneath until the four instruments sound as if the whole world is singing. The gentle A flat slow movement is a rondo, the beautiful main melody recurring at intervals, with episodes that tend to melancholy, This music is essentially innocent and direct, and attempts to overstress it always defeat themselves.
Here is playing of ideal balance, expressing Haydn's innate geniality in every bar. That is not to say virtuosity is underrepresented: hear the combination of ease and precision in the Presto finale of Op. It is swift but joyous, completely lacking any relentless quality.
Three performances of Beethoven's Op. Their ground breaking recording of Britten's Second Quartet, supervised by the composer, remains deeply felt. Among the many box reissues of string quartets, this one is a standout. January Le summum de la grande culture musicale viennoise.
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Minuetto Allegretto 4. Allegretto 6. Menuetto Allegretto 7. Adagio 8. Allegro Larghetto Menuetto Moderato Menuetto Allegretto 3.
Allegro di molto 6. Andante 7. Menuetto Allegretto 8. Adagio ma non troppo 4.
Larghetto - Allegro 6. Adagio 7. Allegro ma non troppo 2.
Andante con moto 3. Allegro 4. Allegro moderato 6. Adagio ma non troppo Presto 2. Andante cantabile 3.go site
Menuetto - Trio 4. III: 5. Introduzione Maestoso ed Adagio 6. Sonata I Largo 7. Sonata II Grave e Cantabile 8. Sonata III Grave 9. Sonata IV Largo Sonata V Adagio Sonata VI Lento III 1. Allegro con brio 2. Allegretto 3. Menuetto 4. III 5. Vivace 6. Menuetto 8. III 9. Vivace assai Adagio Andantino grazioso 3.