From Wikipedia, the free encyclopedia
Content deleted Content added
| Line 22: | Line 22: | ||
|
== Analysis == |
== Analysis == |
||
|
It consists of four [[movement (music)|movement]]s: |
It consists of four [[movement (music)|movement]]s: |
||
|
{{Ordered list|type=upper-roman |
|||
|
|
[[Tempo#Italian tempo markings|Allegro]] ([[D major]]) |
||
|
|
Andante con moto ([[B-flat major]]) |
||
|
# Scherzo Allegro (D major) – Trio (D minor) |
|||
|
|
(D major) |
||
|
| Presto (D major) |
|||
|
}} |
|||
|
According to [[Michael Steinberg (music critic)|Michael Steinberg]], this is “the gentlest, most consistently Minore & Maggiore lyrical work [within Beethoven’s Op. 18]”,{{sfn|Steinberg|1994|p=159}} except for the fourth movement, in which “Beethoven first explores the idea of shifting the centre of gravity toward the end of a multimovement work”.{{sfn|Steinberg|1994|p=163}} |
According to [[Michael Steinberg (music critic)|Michael Steinberg]], this is “the gentlest, most consistently Minore & Maggiore lyrical work [within Beethoven’s Op. 18]”,{{sfn|Steinberg|1994|p=159}} except for the fourth movement, in which “Beethoven first explores the idea of shifting the centre of gravity toward the end of a multimovement work”.{{sfn|Steinberg|1994|p=163}} |
||
Revision as of 13:24, 10 February 2026
The String Quartet No. 3 in D major, Op. 18, No. 3, was written by Ludwig van Beethoven between 1798 and 1800 and published in 1801, dedicated to Joseph Franz von Lobkowitz. Although it is numbered third, it was the first quartet Beethoven composed.
Analysis
It consists of four movements:
According to Michael Steinberg, this is “the gentlest, most consistently Minore & Maggiore lyrical work [within Beethoven’s Op. 18]”, except for the fourth movement, in which “Beethoven first explores the idea of shifting the centre of gravity toward the end of a multimovement work”.
The first movement starts with a gentle and unassuming theme:
However, its return at the start of the recapitulation shows the theme in an entirely different light. Philip Radcliffe describes this moment as “beautifully contrived”.[3] Burstein describes the dramatic and unusual harmonic progression at the end of the development section as “breathtaking”.[4]
“The sudden reinterpretation of the C♯ creates a type of tonal crisis which has deep structural ramifications for the entire movement. Beethoven’s brilliant manner of dealing with the implications of this unusual strategy indicates a debt to his teacher, Haydn, and also reveals much about Beethoven’s own craft and artistic vision.”[4] The final movement contains a theme that resembles the Mexican hat dance.
Notes
- ^ Radcliffe, Philip (1965). Beethoven’s String Quartets. London: Hutchinson. p. 24.
- ^ a b Burstein, L. Poundie (October 1998). “Surprising Returns: the VII♯ in Beethoven’s Op. 18 No. 3, and Its Antecedents in Haydn”. Music Analysis. 17 (3): 295–312 (295). JSTOR 854418.
Sources
External links
