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The cavatina that serves as the fifth movement is generally considered the quartet's pinnacle. According to Michael Steinberg , it is "one of Beethoven's most inward and wonderful slow movements." [ 5 ] Beethoven declared "that he had composed this cavatina truly in the tears of melancholy" and that "never had his own music made such an ...
Beethoven skips the opening and slow movements and moves on to a minuet in 3 4 time, with a modulating trio. Anton Kuerti refers to this piece as a parody of uncreative composers, while Andras Schiff refers to it as portraying "Beauty and the Beast." The first theme is written in a rigidly classical style with repetitive phrases that are a ...
A dance movement, frequently Minuet and trio or—especially later in the classical period—a Scherzo and trio. A finale in faster tempo, often in a sonata–rondo form. When movements appeared out of this order they would be described as "reversed", such as the scherzo coming before the slow movement in Beethoven's 9th Symphony.
The music of Langsamer Satz is marked Langsam, mit bewegtem Ausdruck (Slow, with moving expression). [3] The piece, in C minor, [1] is still composed in the tradition of Johannes Brahms, especially in matters of sonority and rhetoric, while special effects such as tremolo sul ponticello are new, and a precursor of the String Quartet, Op. 5, written in 1909.
The latter movement in particular, has been interpreted in vastly different speeds. Ever since the famous performances by Sviatoslav Richter, taking the opening movement at an extremely slow pace, similar tempo interpretations for this movement have been frequent. However, the majority of Schubert scholars tend to dismiss such an interpretation ...
The first movement … is built on two sharply contrasted themes, developed according to the sonata-form. The Andante is in the direct line of the great slow movements of Beethoven, and a supreme example of the grandeur attainable by modern technic [ sic ] working in this inspired form.
The first three movements are relatively traditional in structure and character, with a standard sonata form first movement (even including an exact repeat of the exposition, unusual in Mahler) leading to the middle movements – one a scherzo-with-trios, the other slow. However, attempts to analyze the vast finale in terms of the sonata ...
Opening of the second movement. Pianist Stephen Hough wrote about this movement: "The second movement is strangely unsettling for three reasons: because of the almost enforced normality of its theme after the bittersweet bleakness of the first movement; because this theme is doubled in the tenor voice, a claustrophobic companion seeming to drag it down; and because of the constant, murmuring ...