Classical: CDXLIX. BEETHOVEN, Ludwig van: String Quartet #9 in C Major, Op. 59, No. 3

CDXLIX. BEETHOVEN, Ludwig van (1770-1827)

String Quartet #9 in C Major, Op. 59, No. 3 (1806)
1. Andante con moto -- Allegro vivace
2. Andante con moto quasi allegretto
3. Menuetto (Grazioso)
4. Allegro molto
Quatuor Ebène
(34:57)

Op. 59, No. 1
Op. 59, No. 2

The choice of C Major for the third Razumovsky quartet is perhaps not accidental. The first is in F Major (first key to the left of the circle of fifths) and the second is in E Minor -- the relative minor of G Major, the first key to the right of the circle ... he moves to the neutral middle with C Major.

First movement

The quartet opens on a diminished seventh chord, and the rest of the slow introduction is clouded in harmonic uncertainty. The Allegro begins on the dominant and only after 13 bars, does Beethoven finally reach the tonic.

I love the part (blue star) where the first violin drops three-and-a-half octaves from that high C to its lowest note (G).

The development proceeds after the repeat (which the Ebène takes) in traditional fashion until Beethoven sticks the listener with this strange dotted-half/quarter motif offset by the upper and lower strings.

After 17 bars of this rhythm -- distinguished by strange, creeping harmony -- Beethoven doubles the tempo, and resists the tonic until the red star.

The stringendo in the final bars adds excitement.

Second movement

Putatively in A Minor, Beethoven moves through many key centers before he's through ... the augmented second -- embedded in the harmonic minor scale -- is a major feature of this movement.

Unlike Nos. 1 and 2, Beethoven presents no "theme Russe," supposedly a condition forced upon him by Razumovsky (see comments on those quartets -- Beethoven pile drove those simple themes into the musical soil) ...

The Ebènes are to be commended on their attention to detail, like the many sfp's which are so crucial to the composer's intentions.

Third movement

Menuetto Grazioso.

Graceful indeed:

The Trio begins in the subdominant F:

Normally, a minuet ends after the repeat -- but Beethoven stuck this interesting Coda on the end, finishing on a dominant chord:

attacca:

Fourth movement

Another great Beethoven pseudo-fugue; he doesn't bother much with a true countersubject -- but it's pulse-racing, driving material:

The subject is presented in order of viola, second violin, cello and first violin:

Another fugue-like section consists of a torrent of 1/8th notes, introduced from top to bottom (first, second, viola, cello) -- all playing una corda (on one string) ...