Classical music essay

I was looking through my old journal and its entries, and remembered the time I typed up Jon's essay for him in December. Despite interruptions (some from Darren), it only took about three hours or so for a 12-page paper. Viper said I'm the "typing queen," and I'd better not take it anywhere else. I don't think I will.. hahaha. :) Here it is, in case you music geeks want to take a look at it. ;)

Note: "Eb" means E flat! Similarly, "Bb" means B flat!

During the first half of the 19th century, the string quartet as a genre gradually declined in popularity, although for the first 25 to 30 years of the century people were still composing string quartets. The two major composers who fit in this category were Beethoven and Schubert, who both composed a substantial amount of music in this medium. However, as the Classical era gradually phased into the Romantic, the eminent composers in that era devoted less time to the string quartet. The composers who were really pushing the envelope harmonically and formally like Berlioz and Liszt did not write any. However, some major early Romantic composers did compose for the string quartet, albeit in lesser quantities than earlier composers such as Mozart. Composers such as Robert Schumann and Mendelssohn composed for string quartets, which happens to be one of my favorite genres to listen to and study. In this paper, I will attempt to make an overview of the string quartet as a genre during the first half of the 19th century. I will commence by touching on the late quartets of Beethoven, and then move on to Schubert, Robert Schumann, and Mendelssohn's contributions to the genre. I will focus my paper primarily on Schubert's final string quartet in G major, op. 161, D. 887, and Robert Schumann's final string quartet in A major, op. 41, no. 3. I will see how the two pieces differ in their approach to the string quartet, and how they stand in the repertoire of the genre.

Beethoven wrote sixteen string quartets, six of them in his "early" style, five in his middle period, and five string quartets in his "late style," and although the middle quartets were written in the early 1800's, I will focus my concentration on the later quartets. (It is misleading to categorize works into three periods, as one can find many examples of the new developments in the late style in the late middle period works. It is better to think of Beethoven's compositions as a gradual development [Rosen 389]; however, it is helpful to divide the works into three groups for the purpose of analysis.) The general characteristics one finds in the late quartets are a general sparseness in texture and highly personal writing that audiences in Beethoven's time found inaccessible. Much like the majority of his compositions in the late style, the late string quartets were misunderstood by the public and were seen as eccentric and weird. To give an example of the lack of popularity of those quartets with the public, there were only seven public performances of these works in Vienna in the fifty years immediately after composition up to 1875 (Kerman 192). Some of the early Romantic composers such as Schumann and Mendelssohn reacted differently and were highly intrigued by them.

Another feature common to all of his music in his later style is the use of older compositional techniques such as variation and fugal forms. Amazingly, Beethoven, in compositions such as the Hammerklavier sonata for piano (op. 106), managed to turn these last survivals of an earlier style into fully classical forms, with a dramatic shape and articulation of the larger proportions that are based on sonata style (Rosen 435). The best-known fugue that he wrote in the last style was undoubtedly the Grosse Fuge for string quartet, op. 133, which stands out because of the high degree of drama and tension found within. Another series of innovations he did within the genre of the string quartet was adding to the number of movements in a string quartet, as he went away from the standard four-movement scheme in the traditional string quartet format (sometimes he had five, as in the op. 132; or seven movements, in the op. 131). Beethoven also elided all of the movements in the op. 131 quartet in c# minor, in essence unifying the piece together, something that placed greater demands on the performer and listener (there is no chance to take a breather or to tune). Beethoven also used other musical genres in his quartets, such as the lyrical Cavatina in the op. 130, and the use of Gregorian chant in the Op. 132, which may have been the most original piece of music he ever wrote.

Schubert wrote a fair amount of chamber music in general; among them are more than 20 works for string quartet, an octet, a string quintet, and a piano quartet. Among Schubert's strengths in his chamber music is his idiomatic writing for strings that enabled the melodies on the instrument to sing (Webster 58). Schubert's prodigious overall output can be explained by the fact that he did not like to revise and slave continually over his compositions (which may explain his many unfinished works), something Beethoven was well known for doing. Schubert was surrounded by people who loved making music; therefore, he was, as Webster puts it, "obsessed with the necessity of creating." (Webster 58) This means that there is a fair amount of trivial material mixed in with the sublime; thankfully, his late string quartets fall into the latter category. The op. 161, D. 887 quartet in G was Schubert's last string quartet, and it was written in 1826, making it contemporary with Beethoven's string quartet in c# minor, op. 131. However, Schubert, although he lived in the shadow of Beethoven all his life, and was sympathetic to his music, was too individual a composer to be completely consumed by Beethoven (Radcliffe 179). It has been said that it was more Mozart and Haydn's instrumental music that had an effect on Schubert than Beethoven's chamber music (Radcliffe 179). In fact, the quartet "occupies a lone pinnacle, facing the ridge of Beethoven's late quartets on the opposite side of a valley (Newbould 357)." This quartet stands out from the late Beethoven ones because of its use of the traditional string quartet movement structures (sonata form first movement, slow second movement, etc.), whereas Beethoven experimented with the structure of the quartet (like the placing of a fugue in the first movement of the c# minor op. 131 [Newbould 357]). Newbould has also said that with this quartet, Schubert is also different from Beethoven by being less concerned with the "late" Beethoven characteristics of variation and fugal techniques (Newbould 358). However, one finds variations in the slow movement of the preceding quartet in d minor (Death and the Maiden), as well as in the quartet in a minor (no. 13). The exposition can even be looked at as using variation forms within a sonata form structure, which differs from Beethoven's idea of developing a theme within sonata form. In this movement, Schubert's sonata form has a relaxed mood devoid of pathos, which is different from Beethoven's sonata form process that has insistent energy and tension throughout (Dahlhaus 1986:7).

The quartet opens with a very important introduction (from measures 1-14) that is completely different from his other string quartet introductions (see ex. 1). It has a feeling of spaciousness that is similar to the great string quintet in C (D. 956), because of its slow moving harmonic progression (Chusid 183). (I would have to say that the string quintet's introduction does feel harmonically more static and slow-moving.) What is important about this introduction is that it belongs fundamentally to the exposition, as the major-minor shift, the rhythmic pattern of the opening measures, and the half step gesture are all thematic (Dahlhaus 1986:4-5). For example, the rhythm of the first two measures can be found in the first variation of the principal subject in measures 33-42 (there are many other examples of this in the movement. The descent of a half-step, which is isolated in movement five, is expanded to a full step descent in the first theme in measure sixteen. The dotted rhythm found in measures three and four are very prominently featured in both themes. Nevertheless, the most important aspect of the introduction is the modal mixture found with the alteration of G major and minor in the first statement, and of D major and minor in the second. The modal mixture has larger harmonic implications in the remainder of the movement, which I will discuss later. However, you can see it more locally with the Eb and E natural voice exchange between the cello and first violin in measures 19-20 (highlighted in ex. 1), for example. The introduction has a dramatic, nervous quality, which is completely changed in the recapitulation. The order of the chords is reversed (minor leading to major) in the recapitulation, bringing along with it a completely different feeling. Instead of physical energy and violent dynamics, everything is smoothed out, from the rhythm to attack (pizzicato instead of ff) (Newbould 358). The alternation between major and minor is also found in the opening of the finale, alternating from g minor to major. In a way, this alternation challenges the intimacy of the string quartet a step further than Beethoven had, and the fluctuation between major and minor reached its peak with Mahler's Sixth Symphony (Newbould 358-359).

The contrast with major and minor can also be felt in a long-range harmonic plan. Firstly, the descending, Baroque-like "lament" bass progression (G-F#-F-E-Eb-D, found in Dido's Lament in Dido and Aeneas, for example) can be found in the introduction and the first subject group (which can be looked at as either a theme and three variations or a pair of antecedent and consequent phrases), in the manner of a passacaglia. In the introduction, the first violin has the progression, which is split up by the modal contrasts. Measures 15-20 show a very clear statement of the progression in the cello (refer to ex. 1 again), Schubert harmonizing the progression with G-D-F-C-Eb-D chords, which is a modal kind of chord progression. This "lament bass" progression can be reduced to G-F-Eb-D (the other chords being first inversion chords), which is a descending tetrachord from the tonic to the dominant in the minor mode (Beach 11). The remaining three variations of the main idea again reinforce the tetrachord, leading to a strong tonic (G) chord in measure 54, which eventually progresses to a strong F# chord in measure 63, which is puzzling in its immediate harmonic context.

The secondary subject (see ex. 2 for mm. 64-75) springs from that F# chord, which immediately sets up a V chord (we are now in the dominant) whose resolution is elided until measure 75, when it firmly goes to I. Therefore, the skeleton of the cello's line from measures 54-77 can be reasonably reduced to G-F#-E-D, which is a descending tetrachord that is very similar to the tetrachord in the opening measures, except it is in the major mode. We can now see that the alternation of the major and minor tetrachords is set up initially with the major-minor chords in the introduction (see ex. 3 for a harmonic reduction of the opening 77 measures into the two different tetrachords), which I find to be rather ingenious. [source for example?] The F# chord that was so unusual can be seen as having the function of strongly establishing the major mode (G-F#-E-D) that underlies the progression (Beach 12-13). The secondary subject is melodically somewhat hesitant and wandering around, which is due to the V chord that does not resolve until later in the statement (Beach 9, Westrup 43). Save for a moment in Bb (bVI of D), Schubert presents this secondary statement melodically unchanged four times in total during this section of the exposition, which is an astonishing length of wandering, and that some have labeled a compositional weakness because of its obsession with this subject (Westrup 44). What I find extraordinary about this exposition is that both its themes can be looked at as having their own little theme and variation section, which is unlike anything ever done before (that I know of). The second subject area's variations are a lot easier to hear, and although I could have used some melodic variation (only the accompanimental figurations are varied), I found this movement a very charming listen, and my appreciation for it increased as I became more aware of the structure that was used.

Around 1838, Schumann, having already composed such seminal pieces for piano such as the Phantasie, op. 17 and the piano cycle Carnaval, decided to write some string quartets. His motivation for writing them was because he felt he had to return to composing for the "higher forms" of the sonata, the concerto, or larger creations (Marston 248). He attempted a few times in 1838-39 to compose a few quartets, but his other compositions sidetracked him. He composed some more for the piano, churned out a great amount of lieder in 1840, and finally completed his three string quartets in 1842. Schumann, not being a string player, came at the genre without the intimate knowledge of the workings of the string instruments that he had with the piano. Because of this lack of knowledge, Schumann disciplined his general compositional tendency to digress to a great degree, especially in his outer movements; therefore, his string quartets show the most harmonic restraint among his compositions (Young 136). There are still passages where you can find remarkable harmonic progressions, such as in the slow movement of the second string quartet (see ex. 4), but these passages are few and far between.

A common criticism leveled at Schumann's string quartets is that the writing is not idiomatic for the string instruments. Most of his quartet writing is very pianistic in nature, in that passages such as alternating rising and descending thirds would fit well under the fingers when played on the piano, but that is not easy to play on a violin (Schauffler 440). An example of this occurs in the finale of his first quartet in a minor, in which the cello has to play a "hideously awkward" solo better suited for a pianist (Schauffler 457). Schumann's lack of knowledge of the string instruments has already been cited as the reason for these faults, which takes away from the easiness of the music. Schumann also greatly subordinated the role of the second violin and viola, often giving them a great deal of filling-in material (Young 137). However, Schumann's string quartets have a tensely exciting quality that makes it difficult to forget upon hearing. They are also profound and full of deep spiritual expression, given deeper meaning due to his personal difficulties during his middle years (Schauffler 463). After hearing the entire op. 41, no. 3, I must say that I found it a worthwhile experience. I found many contrasting moods and ideas (especially in the fourth movement), beautiful melodies (in the first and third movements), emotion (in all four), and original compositional ideas (as in the second movement, which is a theme and variations). What Schumann does in that movement that is so original is that he presents three variations of the theme before presenting the actual theme itself, each variation being very distinct from each other. (This is different from Beethoven's Eroica variations, which feature a constant ground bass in the beginning variations.)

Schumann's final string quartet, in A major, is known for a few features, the most notable being the motive of a descending fifth, which has its own rhythm, that of a half note followed by a quarter (this resembles the motive in the first movement of Haydn's Fifths) quartet in d minor op. 76, no. 2). The motive of a fifth, heard immediately in the introduction and at the beginning of the first theme (see ex. 5) is prominent throughout the first movement, which I find warm and charming. People have attached the syllables "Cla-ra" to the descending fifth, which is also found in several of Schumann's other compositions, which may explain the warmth of the motive. Given his penchant for attaching more subtle extramusical meaning to his compositions, the theory of the motive being for Clara is quite valid. The descending fifth is also found in the second theme, which is a lovely and lyrical line first given to the cello and then to the first violin (see ex. 6). In the development, the first theme is the only theme developed, with the "Clara" motive dominating the procedures. The rhythmic motive remains unchanged, but the melodic form undergoes some variation, not always being a fifth (although the overall contour remains the same). In the final measure of the movement, while the other instruments are sustaining a chord, the cello plays the "Clara" motive again, as if to further emphasize its importance (it being the first and last thing we hear in the movement).

Schumann has been credited with experimenting with structure of sonata form, as he considered it a form that had run its course, his concern that "we ought not to repeat the same thing for centuries, but should also think about creating something new" (Marston 248). Although he felt that he had to return to composing for "higher forms" such as the sonata, the urge to reinterpret the past creatively was an important thing for him. That being said, the first movement of the A major string quartet shows many sonata form characteristics, such as two clear and contrasting themes, with the second being initially presented in the dominant in the exposition, and in the tonic key at the recapitulation, and a clear development that fragments the themes and runs through different tonal areas, among others.

These "classical" forms are evidence of Schumann studying and applying the principles of the string quartets of Haydn, Mozart, and Beethoven, which he had made careful studies of a few years prior (Lester 191). (Schumann, in 1839, wrote to a friend that he was living through some of Beethoven's last quartets, and identified with them so personally that he felt the love and hate in the works [Marston 249]). Perhaps Schumann's harmonic restrictions in his string quartets also managed to apply to his use of form, restricting himself in his tendency to wander around formally as well as harmonically. However, Schumann still throws in a few surprises that deviate from sonata form, such as beginning the recapitulation of the first movement with the second theme, ignoring the first theme altogether. (There is a precedent for this, as Mozart's piano sonata in D.K. 311 also showed the same procedure. [Lester 191, Rosen 52]) I believe the reason he chooses to forgo the first theme in the recapitulation is due to the first theme being the only thing heard in the development. Beginning the recapitulation with the motive that had already been used largely in the section preceding would be very tedious and repetitive.

Overall, I found that the quartet was nicely put together, and showed some different features than the Schubert, as it was much more compacted and tighter in form than Schubert's first movement. Schumann also used clearly identifiable themes that were put through thematic development, something more typical of the classical genre, which contrasts with Schubert's "themes," which are not really conventional themes, and do not go through much development. The themes are simply being restated while the background changes; even in the development section, the "themes" do not go through much thematic development. Where both pieces stand in the repertoire are also different. The Schubert quartet is acknowledged as one of Schubert's most original quartets, and it is fairly well known in the repertoire, although it is not as popular as the Death and the Maiden" quartet in d minor. The Schumann quartets are not as well known, owing perhaps to the stigma given to Schumann because of the awkwardness of the writing. One must realize that this was only Schumann's third attempt at writing a string quartet, while Schubert had written at least twenty works for that field, so comparisons may be a bit unfair. One can hypothesize that, as Schumann got more experience composing for string quartets, he would have felt more comfortable in making harmonic and formal experiments one hears in his vocal and piano music.

Mendelssohn was another composer who wrote string quartets in the first half of the nineteenth century, writing six. He was very devoted to Beethoven's music and was quite interested in the late quartets during the time when they were considered eccentric by the public (Radcliffe 182). Beethoven's Serioso quartet in f minor (op. 95) had an influence on his first and last string quartets. However, it was Beethoven's later string quartets such as the op. 132 that had a much greater impact on his first two string quartets (op. 13 in a minor and op. 12 in Eb), which were his efforts to come to grips with Beethoven's late works (Dahlhaus 1989:78). Mendelssohn often attempted to emulate Beethoven's grandeur in his slow movements; a good example of this can be found in the slow movement of the op. 12 in a minor, where the middle of the movement is a long and gradual buildup to a fortissimo and dramatic climax. Despite Beethoven's influence in those two quartets, Mendelssohn did not attempt to emulate the sparseness often found in the late quartets, instead preferring to depict the varied colours of an orchestra in his writing (the slow movement of the op. 12 being a good example of that) (Radcliffe 181-182). His other quartets show less influence from Beethoven, and are works where Mendelssohn put his own personal style into the composition.

In conclusion, the string quartets produced in the first half of the nineteenth century - although less in quantity - are still substantial and valid works, each bearing the composer's personal stamp. I found that the innovations put in place by Beethoven -- such as a different number of movements -- were not developed by the succeeding composers of the Romantic generation. The individual works that I studied are certainly richer and warmer in sound -- especially the first movement of the Schumann (maybe it was the way the Saint Lawrence String Quartet played it), which is quite different from the sparseness of texture often found in late Beethoven. Early Mendelssohn aside, the Romantic composers preferred to write chamber music for piano and avoid the legacy of Beethoven altogether (Dahlhaus 1989:79). It was not until the twentieth century and the modern age when we see composers like Bartok and Schoenberg use the late Beethoven quartets as a starting point for their own compositions in that medium (Dahlhaus 1989:78). However, the quartets that were composed in the first half of the nineteenth century are very fine works indeed, and well worth studying and listening to.

So yes, I did indeed rock! The comments on the essay: "Excellent paper. Nice personal tone in some of the observations. You say only the most relevant things, which is nice. A+ 93."

Woohoo for me, and my beloved brother! :)

RANDOMNESS jelly Crazy. Can't keep still even for a few seconds.

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