STRING QUINTET NO. 2 in G MAJOR,
OP. 111
Recording: Verdi Quartet (Susanne Rabenschlag, 1st
Violin;
Johannes Hehrmann, 2nd violin; Karin Wolf,
viola;
Zoltan Paulich, cello) with Hermann Voss, 2nd Viola
[Hänssler 98.539]
Published
1891.
This piece has the
distinction of being what Brahms originally intended to be his
last
published work. Joachim, with whom he had reconciled
after a long
dispute, had requested a companion piece to the Op. 88 quintet.
Brahms produced a refined masterpiece, and told his publisher
that he
had said all he could as a composer and that no more works
should be
expected. Perhaps the opus number, the same as
Beethoven’s last
piano sonata, was symbolic. A perusal of the works after
Op. 111
shows that clarinetists, pianists, bass
singers, and organists
should
be eternally grateful that he changed his mind. At any
rate, the
G-major quintet is a breathtaking piece, almost orchestral in
conception, creating the effect of far more than five
instruments. This is especially true in the first
movement, whose
full opening has placed fear into the hearts of many
cellists.
Joachim asked him to tone down the tremolo
in the upper instruments, but at this point in his career, he
did not
second guess himself. The movement’s energy never really
abates,
despite much quiet material, and Brahms uses the supple 9/8
meter to
play his beloved rhythmic games. The other three
movements are
all much shorter (each successively so in terms of performance
time),
and all have a distinctive “gypsy” or “Slavonic” element,
especially
the czardas-like finale (which begins in the “wrong”
key). This
is in homage both to Joachim’s Hungarian heritage and Brahms’s
own
earlier works in that style. The slow movement is
admired for its
rich, bold harmonies and progressions. The third
movement could
be called a scherzo, but is really a gentle, melancholy
waltz.
Particularly in the middle section, it often sounds like a
piece by
Dvořák, perhaps intentionally so. The brevity of the
other
movements is no excuse for omitting the exposition repeat in
the first
movement, which has a greater than usual structural
significance.
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1st
Movement: Allegro non troppo, ma con brio (Sonata-Allegro
form).
G MAJOR, 9/8 time.
EXPOSITION
0:00 [m. 1]--Theme
1. The
four upper instruments begin a strong, richly harmonized tremolo background.
Against
this, in a notoriously difficult challenge for the cellist,
that
instrument projects the wide-ranging, heroic main theme.
It
begins in the low register with a downward leap, but it then
works
upward quite quickly. The rhythm of the theme, with its
typical
three-note and two-note upbeats, sets it apart. The
cello theme
reaches the high register and hints at the related E minor key
before a
distinctive descent. The upper strings continue their tremolo motion at a
strong level,
changing harmonies when needed.
0:21 [m. 8]--The tremolo motion
stops. The
cello continues its melody with the rising motive of a long
note
followed by two short ones. The two violins imitate this
in
harmony. The key of B major is suggested here. The
violas
and second violin suggest the tremolo
against a first violin syncopation and a cello descent.
The
violins then take the long-short material, with the cello
still leading
in counterpoint, moving through C major. The first
violin reaches
up for a high descent as the cello and second viola play in
syncopation. The tremolo
motion begins again in the inner instruments as the first
violin and
cello build toward the climax.
0:39 [m. 14]--The
instruments
have a huge arrival on a C major chord. The violas pass
ascending
arpeggios between them in cross rhythms derived from the
theme.
The tension increases even more, and is released by a
re-emergence of
the theme’s opening in the second viola. It is quickly
passed to
the first violin, which soars above the texture. The
first violin
introduces a new line as the theme’s rhythm continues in the
violas and
second violin. Leaping syncopations lead into the
transition.
0:58 [m. 21]--Transition.
The
instruments come together and sharply force out a D major
chord. The second violin trails downward, and another
chord is
forced out, this time a dissonant “diminished” chord.
The second
violin trails down again, and another “diminished’ chord is
forced
out. The first viola now trails, leading to a cascading
descent
on the first violin against an arching ascent and descent in
the cello,
all on another “diminished” chord while the inner instruments
play
thick single-note tremolo.
This
emerges into a quiet preparation for Theme 2, with the second
viola trailing into it.
1:15 [m. 26]--Theme 2,
Part
1. The violas lead the tune in harmony, with short
fragments
punctuated by detached responses from the violins, the cello
now
playing pizzicato.
The
first viola and cello emerge into a descending cross rhythm (D
major).
1:28 [m. 30]--The
violins now
lead on the short melodic fragments. The responses are
replaced
by downward-arching lines in the first viola. The first
violin,
with the cello, which begins to be bowed at this point,
emerges into
the cross rhythm heard earlier from the first viola.
1:41 [m. 34]--
The first
violin leads an expansion of the theme in F-sharp minor that
incorporates the cross rhythms. After moving back to D
major, the
expansion dissipates into short off-beat sigh figures in the
top three
instruments with the second viola “pushing” into them with
syncopations.
1:54 [m. 38]--Theme 2,
Part
2. The second violin leads this tune, in a skipping
syncopated
short-long rhythm. The other instruments accompany with
arching
lines, including the first violin. The cello is plucked
again. At the end of the phrase, a rising arpeggio from
the first
violin and first viola leads to the next statement.
2:07 [m. 42]--The
first violin
takes over the short-long tune with great gentleness.
The
arpeggios just heard continue in the inner instruments along
with the
arching lines, both played in counterpoint to the tune.
At the
end of the phrase, there is a rapid buildup in volume, and the
arpeggios emerge in all the instruments, now shooting upward
in a much
faster, powerful triplet rhythm.
2:20 [m. 46]--Closing
Theme. The powerful arpeggios reach a cadence that leads
into the
closing theme. The phrasing and accentuation of this
tune obscure
the beat and meter. The inner instruments play in tremolo on rapidly
repeated notes,
continuing the triplet rhythm from the arpeggios. Other
than this
inward pulsation, they move together with the first violin and
cello,
beginning in unison but then diverging into harmonies.
The theme
begins in a low register, than moves upward. The cello
and second
viola have sharp off-beat chords. The continuation moves
again to
F-sharp minor. There is more syncopation and some
imitation, and
the first violin joins the triplet tremolo
pulsation. Finally, it descends to a half-cadence.
2:41 [m. 53]--Very
quietly, D
major is restored with an echo of the closing theme that
quickly
devolves into syncopated chords held over strong beats and bar
lines. These continue, and reach a cadence in D
major. In
the first statement of the exposition, the cadence is
completed, which
is not the case in the second statement. This is why
taking the
repeat is absolutely essential in this late work.
2:54 [m. 57, first ending]--The
first
ending to the exposition moves back to the home key of G major
by
quietly slipping into the rhythm of the main theme. The
second
violin and second viola are gently plucked. The first
violin and
first viola pass Theme 1 fragments between them until they
emerge into
a cross rhythm, with the intensity quickly and powerfully
increasing. Here, the cello begins Theme 1 just before
the upper
instruments can bring things together again on the tremolo, the two
“plucking”
instruments quickly picking up their bows.
EXPOSITION REPEATED
3:00 [m. 2 (59)]--Theme
1.
From this point, the cello having begun the theme without the
initial tremolo
figures
preceding it, the theme continues from the downward leap as at
the
beginning.
3:17 [m. 8]--Long-short-short
motive
and motion through B major and C major, as at 0:21.
3:35 [m. 14]--Arrival
on
C-major chord and re-emergence of the theme’s opening, as at
0:39.
3:55 [m. 21]--Transition
with
forced chords, as at 0:58.
4:12 [m. 26]--Theme 2,
Part
1. Short viola fragments with detached responses, as at
1:15.
4:25 [m. 30]--Violin
statement
of the short fragments, as at 1:28.
4:37 [m. 34]--Expansion
in
F-sharp minor, as at 1:41.
4:50 [m. 38]--Theme 2,
Part
2. Skipping short-long melody, as at 1:54.
5:04 [m. 42]--Gentle
first
violin statement followed by rapid buildup and triplet
arpeggios, as at
2:07.
5:16 [m. 46]--Closing
Theme,
with obscured meter, tremolo
repetitions, and motion to half-cadence in F-sharp minor, as
at 2:20.
5:38 [m. 53]--Restoration
of D
major and syncopated chords, as at 2:41. The cadence is
not
completed, and is left hanging on the “dominant” chord in
preparation
for the development section.
DEVELOPMENT
5:51 [m. 57, second ending]--The
entire
development section uses the two-flat key signature of G minor
and B-flat major. It begins in B-flat major with a very
quiet tremolo in
triplets, against which
the first viola, then the first violin, tentatively present a
rising
third. The two instruments then alternate again on
higher
thirds. They begin to slowly arch downward. The
first viola
slips into the tremolo
of the
other instruments, then the second violin emerges out of it,
joining
the first violin in contrary motion on the arching line.
6:19 [m. 65]--The tremolo figures now
pulsate on
repeated notes. The first violin and first viola surge
forward
with the rising third figures, but now strongly accent and
harmonize
them. The music greatly increases in intensity, moving
first
through B-flat minor, then to G minor, both related minor keys
to the
previous B-flat major.
6:31 [m. 69]--A long
passage of
counterpoint begins in G minor. Fragments of Theme 1 are
passed
between the instruments, all in arpeggios. Faster
arpeggios are
directly juxtaposed with slower ones. They are regularly
punctuated with sharp tremolo
chords. As the counterpoint builds to a climax, the
first violin
plays high notes in syncopation along with other cross-rhythm
figures
in the lower instruments. A cadence in G minor leads to
the
following statement of Theme 1.
7:00 [m. 79]--With tremolo preparation in
the violins,
the cello suddenly and strongly begins a statement of Theme 1
with a
four-string chord. It starts in E-flat major, but
quickly becomes
unstable and veers toward D-flat. The second viola joins
the
cello in dovetailing fragments, while the upper three
instruments
continue the tremolo.
7:14 [m. 84]--The
music
suddenly quiets down, and a seemingly new harmonized melody
derived
from Theme 1 is heard in a lilting rhythm in the remote key of
D-flat
major, moving to A-flat. It is then shifted upward and
restated E
major, moving to B. After both statements of the lilting
melody,
repeated detached notes become more prominent and more
ominous.
7:38 [m. 90]--The
“ominous”
nature of the detached notes is here fulfilled in a mysterious
passage
with winding harmonized violins and continuing repeated
detached
notes. The passage is stated in G minor, then in B-flat
minor in
a reversal of the pattern from 6:19 [m. 65]. The B-flat
minor
statement is diverted to F.
7:52 [m. 94]--In a
sudden
outburst, the “ominous” repeated notes become powerful,
beginning the
re-transition to the recapitulation. The repeated notes
alternate
with powerfully downward-winding descents, moving up in
harmony from C
major/minor through D minor to E major. The cello
alternates with
the downward-winding descents as well, turning them around to
ascents. Upon reaching E major, the repeated notes
become more
heavy, and are expanded, leading through A minor to C major.
8:11 [m. 100]--The
melody from
7:14 [m. 84] is now presented powerfully in C major, only to
be
interrupted again by the heavy repeated notes. The tremolo returns in the
lower
instruments, signifying that the recapitulation is imminent.
8:21 [m. 103]--In the
final
re-transition, the previous passage is restated in E-flat
major, but is
now interrupted by ascending arpeggios that break off the tremolo and move from the
violas to
the violins, introducing cross rhythms similar to those heard
in the
first ending of the exposition. Only at the last moment,
as the
cello suddenly emerges into Theme 1, does the music slip from
E-flat
major into G major.
RECAPITULATION
8:30 [m. 106]--Theme
1.
The cello begins it, as expected, but the accompaniment, with
plunging
violin arpeggios, is different. After one bar, the first
violin
takes up the theme from the cello, the latter instrument
joining the
other three on the shimmering tremolo
motion. The first violin continues the theme with its
original
contour, albeit two octaves higher than the cello
presentation.
8:48 [m. 112]--Here,
in the
passage analogous to 0:21 and 3:17 [m. 8], the first violin
diverges
from the exposition. While the motive with a long note
followed
by two short ones is used here as expected, the harmonies are
different, and while the two violins play together in sonorous
parallel
thirds, there is no imitation at first. Almost
ironically, the
cello alone continues the tremolo,
the violas playing in direct counterpoint to the violins and
taking the
original cello descent heard after the motive (while the
violins
reverse the direction, moving upward). The motive
continues, now
with the violas imitating the violins. The passage is
condensed,
omitting the passage from 0:39 and 3:35 [m. 14], and leading
into the
transition.
9:01 [m. 116]--Transition.
The
previous passage having reaffirmed the home key of G major,
the
transition is played there instead of on D, as before.
The only
real difference otherwise from 0:58 and 3:55 [m. 21] is that
the
trailing lines are reversed. The first viola takes the
first two
trailing lines after the “forced” chords, and the second
violin takes
the last one before the first violin plunge and cello arch.
9:18 [m. 121]--Theme
2, Part 1,
in the home key of G. The scoring of the fragments and
responses
is as in the exposition at 1:15 and 4:12 [m. 26], with the
cello
playing pizzicato as
before.
9:31 [m. 125]--As at
1:28 and
4:35 [m. 30], the violins now lead. There is variation
here in
that the second viola now joins the first on the arching
lines,
creating new harmonies.
9:44 [m. 129]--The
expansion
from 1:41 and 4:37 [m. 34] is now heard in B minor, as would
be
expected in an analogous motion to the F-sharp minor of the
exposition. The scoring is nearly the same, but the two
violins
reverse roles in the closing “sigh” figures.
9:58 [m. 133]--Theme
2, Part
2. In a significant difference from 1:54 and 4:50 [m.
38], the
skipping short-long melody is presented by the first violin
rather than
the second. This requires the first violin to merge
directly from
the melody into the ascending arpeggio at the end of the
phrase.
10:11 [m. 137]--The
gentle
statement is very similar to 2:07 and 5:04 [m. 42], but
descending
arpeggios are now mixed with ascending ones in the
accompaniment.
The rapid increase in volume and the upward-shooting arpeggios
in
triplets follow as expected.
10:24 [m. 141]--Closing
Theme.
The obscured meter and tremolo
repetitions follow the patterns of 2:20 and 5:16 [m. 46],
leading to a
half-cadence in B minor.
CODA
10:46 [m. 148]--The
cello slips
down, smoothly moving back to G major. The passage from
2:41 and
5:48 [m. 53] is omitted. Instead, the figures from the
closing
theme, no longer obscuring the meter, lead into the very
gentle and
serene beginning of the coda. They are passed between
the first
violin and both violas, with the second violin adding
syncopated
descending counterpoint. The first viola later joins the
second
violin in unison. These instruments continue to pass
these
figures, with the cello mostly providing a drone bass.
The first
violin reaches quite high and becomes syncopated, veering
suddenly to
the minor key. A cello arpeggio leads into the following
passage.
11:14 [m. 157]--A rich
and
warm, but melancholy passage in G minor is based on Theme 2,
Part 2,
the short-long melody, which is taken by the first violin and
incorporates the arching lines. The second violin and
first viola
play faster arpeggios with some syncopation, while the second
viola and
cello play slower arching lines. At the end, the melody
is
fragmented into shorter descending “sigh” figures, leading
into the
next passage in major.
11:32 [m. 162]--Now,
in a
moment of great serenity, figures from Theme 1 and Theme 2,
Part 2 are
combined. The Theme 1 figures (ascending arpeggios) are
heard in
the lower instruments, the short-long figures from Theme 2,
Part 2 in
the violins (the first viola actually takes both elements at
different
times).
11:46 [m. 166]--The
short-long
figures are now mixed with smooth arching arpeggios from the
violins. The Theme 1 material continues in the lower
instruments,
and descending arpeggios now join the ascending ones.
The music
makes harmonic digressions to the related minor keys of E and
F-sharp. It becomes quieter and slower, reaching a
suspended
half-cadence in E minor.
12:10 [m. 172]--Suddenly,
the
volume and speed return to their full levels, and two sharp
chords from
the entire ensemble lead quickly from E minor back to G
major.
The tremolo
repetitions are
heard in the inner instruments against a descending first
violin
arpeggio and an ascending cello one. The inner
instruments then
turn to the oscillating tremolo
associated with Theme 1. The first violin and cello play
a
powerful cadence gesture that is directly taken from the end
of the
development section at 8:21 [m. 103]. This is expanded,
some
cross rhythms are heard, and the cadence is punctuated with
strong
chords.
12:26 [m. 178]--The
cadence
leads to some final joyous reminiscences of Theme 1 in all
instruments,
passed from top to bottom, the cello appropriately taking the
rising
arpeggio last. The other instruments plunge downward
before the
two last brilliant chords, in which all instruments except the
cello
play triple and quadruple stops.
12:42--END OF MOVEMENT [181
mm.]
2nd
Movement:
Adagio (Ternary/Rondo hybrid form). D MINOR, 2/4 time.
A Section
0:00 [m. 1]--Principal
(Rondo)
theme. The violas present it, the first taking the
melody and the
second providing a prominent counterpoint. The cello
accompanies
with steady, widely leaping plucked notes. The melody is
notable
for its heavily leaning toward the “dominant” key (with the
prominent
chromatic G-sharp on a short note) and for the distinctive
five-note
turning figure in the second bar.
0:12 [m. 3]--As the
violins
enter, not taking over the melody, but providing harmony to
the first
viola melody, the key suddenly shifts to C major. The
plucked
cello plays a sharp ascending dotted rhythm, taken over by the
bowed
second viola. The first viola continues to spin out the
melody,
making another decorated excursion to B-flat as the cello
takes up the
bow. Slipping back to C major and into languid triplets,
the
melody leads through a subtle progression to the “dominant”
harmony of
the home key on a quiet tremolo.
0:43 [m. 9]--Episodic
theme. The first violin plays short, isolated figures
introduced
by short notes. The second violin enters in harmony and
quasi-imitation on the same figures. The lower three
instruments
provide isolated support on the off-beats. The short
figures
start to constitute a melancholy melody that, like the
principal theme,
leans heavily toward the “dominant” harmony.
1:02 [m. 13]--The
first viola
has an isolated transition in a triplet rhythm that is clearly
derived
from the principal theme. The second viola and cello
join in
light off-beat harmonies leading back to the theme itself, and
the
first viola incorporates some light syncopation.
1:13 [m. 15]--Principal
theme.
The first two bars transfer the viola parts to the
violins, an octave higher than the opening, with the second
viola
playing the wide plucked notes originally played by the
cello. It
is also played quietly and expressively, whereas the opening
was more
forceful.
1:24 [m. 17]--The
shift to C
major happens as expected, but the material itself is varied,
with the
dotted rhythm passed between descending violins and ascending
lower
instruments at an extremely quiet level. The first
viola, given
so much prominence earlier, here merely provides harmonic
support. One statement of this alternation in C major is
immediately followed by a second in A minor. A third is
in C
major again, but with a striking internal A-major
harmony.
Finally, a fourth statement without the ascending lower
instruments
moves again to the “dominant” harmony (A major, already
strongly
implied) of D minor.
2:05 [m. 25]--Episodic
theme. It begins as before in the first violin, but the
supporting lower instruments are now given short lead-in notes
similar
to those heard in the melody itself. When the second
violin
enters, the harmony and direction are immediately
altered. The
“dominant” key is still emphasized, but at the end, the home
key of D
minor is more strongly asserted by shifting the entire melody
and
harmonies down a fifth from their original ending in the
statement at
0:43 [m. 9].
2:25 [m. 29]--The
triplet
rhythm transition is now played by the first violin and first
viola in
octaves, with the second violin and second viola, and later
the cello,
joining in with the light off-beat harmonies much sooner than
in the
statement at 1:02 [m. 13]. The transition is extended by
two
bars. The first violin leaps strongly downward, then the
cello
arches down and back up, building strongly in volume and
moving toward
E-flat major and G minor. The first violin re-enters in
preparation for the principal theme.
2:43 [m. 33]--Principal
theme,
played in its entirety in the key of G minor. The
violins take
the theme and its counterpoint, and the plucked accompaniment
is now
broken into faster notes played by the first viola and cello
in
alternation.
2:53 [m. 35]--The
harmonic
shift is analogous, moving from G minor to F major. The
plucked
dotted rhythms are heard as expected, with the bowed second
viola
joining the cello, the first viola providing a new and more
steady
(still plucked) background. The cello takes up the bow
in the
same place as before, and a brief analogous digression to
E-flat leads
to the analogous “dominant” of G minor after the languid
triplets,
where the first viola finally takes up the bow and Brahms
deftly
re-scores the original passage.
3:21 [m. 41]--Transition.
The
music becomes steadily quieter, and the instruments begin a
colorful progression of chords. An echo of the languid
triplets
is briefly heard in G minor, and then the colorful, hushed
chord
progression begins again. It includes several unstable
“diminished seventh” chords and much mode mixture. It
dies down
to almost nothing.
B Section
3:56 [m. 48]--Beginning
in G
minor, the formerly “languid” triplets burst upon the scene in
dramatic
fashion, alternating between violins and violas, the cello
providing a
leaping bass. The triplets then become syncopated, with
heavy
accents. The material is given again a step lower, in F
major,
with the violas leading. After more syncopation, the
violins
plunge downward, leading back to the home key of D minor.
4:11 [m. 52]--The
principal
theme suddenly emerges, but it is in the key of D major rather than
minor. It
is played by the violins, the cello providing the wide-ranging
plucked
accompaniment as expected, but the violas unexpectedly carry
over the
triplet rhythm from the previous passage.
4:19 [m. 54]--Instead
of the
expected colorful harmonic shift at this point, the descending
arpeggios in dotted rhythm from 1:24 [m. 17] appear in a
closely
related key, B minor, in the violins in harmony. The
mood is
quite stormy and agitated. The cello immediately takes a
similar
descent in dotted rhythm, shifting back to the home key
against a
dissonant chord.
4:27 [m. 56]--The home
key of D
minor is firmly established here. The cello turns the
dotted
rhythm around, ascending as it did in previous appearances of
the
principal theme. The first violin begins to play the
continuation
of the theme as first heard from 0:12 [m. 3], but now
remaining at home
harmonically. The three inner instruments continue to
descend in
the dotted rhythm, but introduce a sharp and feverish
syncopation.
4:34 [m. 58]--The
syncopation
breaks off as the violin melody reaches its climax. The
second
violin joins it in counterpoint. The accompaniment
figures of the
lower instruments, still featuring the dotted rhythm, become
more
feverish. The melody itself reaches higher than before
and then
gradually descends.
4:48 [m. 62]--With a
sharp
accent on the last beat of the previous bar, the first violin
speeds up
its motion. The other instruments are even faster,
playing a
rapid tremolo (with
repeated
notes and chords) in a very fast triplet rhythm. The
second
violin and first viola soon abandon this, joining the first
violin in
harmony. The second viola and cello continue with the
shuddering tremolo.
Finally, the
instruments slow down, the first violin descending by
half-steps and
the others supporting it, the first viola ascending against
it.
5:08 [m. 66]--As a
re-transition, the first viola plays a long and elaborate
lead-in with
multiple leaps and cross-rhythms, supported by long notes in
the second
viola and cello. The second violin also holds a note for
some of
the large run. The first viola descends, diminishes, and
slows
down, leaping down into a very strong cadence onto the home
key.
This viola run is similar to a passage at the end of the third
movement
(scherzo) of the third string quartet in B-flat (Op. 67).
A’ Section
5:21 [m. 69]--The
first bars of
the principal theme return in their original form and key,
except that
the violins play the melody and counterpoint rather than the
violas. The theme is quiet and expressive.
5:33 [m. 71]--Instead
of the
expected harmonic shift, the music remains in the home key of
D minor,
and the first violin begins to play a variant of the
succeeding music
that is both gentle and melancholy. The cello is bowed
after
plucking the two previous bars and joins the second violin and
second
viola in syncopated harmonies held across bar lines. The
first
viola provides echoes of the melancholy variant. The
instruments
swell one last time and settle to a cadence on a D major (not
minor)
chord. The first violin then slips down for the final
statement.
6:04 [m. 77]--The
first violin
plays a last statement of the theme’s first two bars, but, in
keeping
with the harmonic adventures throughout the movement, it is
the G-minor
version at a subdued volume and lower pitch level. The
theme’s
emphasis on the “dominant” proves to be prophetic here.
The
“dominant” of G minor is D major, and the theme stops on that
chord (D minor being
the home key of the
movement), ending with a few reiterations and cello
syncopations.
Because of this last bit of G minor, the final D-major chords
sound
strangely incomplete, and lead rather smoothly into the
G-minor key of
the next movement.
6:33--END OF MOVEMENT [80
mm.]
3rd
Movement: Un poco Allegretto (Ternary form resembling a
scherzo and
trio). G MINOR, 3/4 time.
A Section (“Scherzo”)
0:00 [m. 1]--Part
1. The
first violin leads in a very melancholy waltz tune. The
accompaniment is given a skittish effect by the first viola
and cello
always playing on the beats while the second violin and second
viola
always play after them. Even-numbered bars have
accompaniment
rests, on the second beat in m. 2 and m. 4, and on the third
beat
thereafter. After the two opening gestures, the first
violin
reaches higher, then gradually descends. The descent to
the
half-cadence is stretched out, creating a twelve-bar phrase.
0:18 [m. 13]--Part 1,
varied
repeat. The first violin phrase is reprised at first,
but the
accompaniment is changed. Smoother lines replace the
skittish
alternations. At first, only the cello plays on the
downbeat in
the accompaniment, but later all the instruments become more
smooth. The skittish nature is restored in the last four
bars,
but the smoother lines are still used. Halfway through
the
phrase, the first violin begins to share some of its line with
the
second violin, and the melody itself is subtly altered in the
last four
bars to sound more conclusive at the D-minor cadence.
The entire
repetition is at a quieter level.
0:34 [m. 25]--Part
2. Two
complementary contrasting phrases are heard, the first in C
minor, the
second in B-flat minor. The first viola plays in
quasi-imitational counterpoint with the first violin, and
actually
leads in the second phrase. The second violin and second
viola
largely play syncopated repeated notes, while the cello
provides a
sparse bass accompaniment.
0:46 [m. 33]--In a
passage of
buildup, the first violin and cello play in unison two octaves
apart
while the inner instruments provide a syncopated background of
repeated
harmonies. The passage remains in B-flat minor. At
the end,
the other instruments join the rhythm of the outer ones in the
climactic arpeggios with cross-meter groupings suggesting a
brief
2/4. Only the second viola plays a slower line.
1:00 [m. 43]--At the
top of the
climax, the first violin and cello wrench the music back to a
highly
chromatic G minor. The inner instruments have sharp
syncopations,
and the material recalls the opening waltz phrases of Part
1.
Then the music plunges downward with each instrument entering
from top
to bottom except for the cello, which provides a steady
bass.
Finally, the first violin is isolated for two highly plaintive
arching
phrases, the second a fourth lower than the first.
1:13 [m. 53]--One
final phrase
is added as an extended cadence. It is now the cello
that plays
repeated syncopated notes. The music becomes gradually
more
subdued. Halfway through, the first violin slows down
the
characteristic three-note gesture that ended the phrases of
Part 1 by
lengthening the notes. This happens against more
disorienting
cross rhythms. The inner instruments then take up the
gesture. Two hushed and suddenly major chords end the
section.
1:24 [m. 25]--Part 2
repeated. Two complementary phrases in C minor and
B-flat minor,
as at 0:34.
1:35 [m. 33]--Passage
of
buildup in B-flat minor, as at 0:46.
1:48 [m. 43]--Climactic
passage
ending with plaintive first violin lines, as at 1:00.
2:02 [m. 53]--Final
cadence
phrase ending with G-major chords, as at 1:13.
B Section (“Trio”)--G
major
2:13 [m. 61]--Part
1. The
middle section is a gentle, rustic dance with a discernible
Slavonic
character. It is set in the major key. The cello
provides a
drone-like bass with arching arpeggios throughout. The
violas
lead, and the violins follow, completing the musical
phrase. The
violas dovetail back for a second phrase that the violins also
complete. This phrase moves to B minor. The
following viola
entry shifts this to B major, whereupon an arpeggio on a
“diminished
seventh” from cello and first viola aids in the transition
back to G
major for the repeat, and completes a twelve-bar phrase.
2:30 [m. 61]--Part 1
repeated.
2:47 [m. 73]--Part
2. In
a passage of harmonic ambiguity, the violins and second viola
hold long
notes while the cello and first viola play arpeggios. At
first,
B-flat is suggested, but then the arpeggios are shifted up a
half-step,
indicating that they will again arrive on B.
2:55 [m. 79]--In
another
passage of gradual buildup, the harmonies are again shifted,
now
suggesting C major. The violins and first viola
play a
swinging rhythm against the continuing arpeggios. This
culminates
in two descending phrases that both suddenly quiet down.
The
first suddenly arrives on the previously expected B
minor. The
second reaches a cadence in the home key of G.
3:09 [m. 89]--A small
lead-in
that continues the previous swinging rhythm over syncopated
repeated
notes emerges into a reprise of the Part 1 material. The
second
phrase makes a divergence, avoiding the motion to B
minor. The
phrase is extended, with the instruments suggesting a highly
chromatic
C major. The second viola and cello become
syncopated.
Finally, the music seems to move back to G major with the
familiar
swinging rhythm from Part 2. This speeds up and swells,
but never
quite arrives fully on G.
3:31 [m. 105]--At the
climax,
the first violin reaches up and plunges downward. The
second
violin and first viola retain their active motion over long
notes in
the second viola and cello. This downward plunge
initiates a
transition back to G minor and to the reprise of the main
“scherzo”
section. The second viola, then the first violin, turn
around and
reach back upward, and the “trio” ends on a suspended
dissonance.
Reprise of A Section
(“Scherzo”)
3:41 [m. 111]--Part
1.
Melancholy, skittish waltz tune, as at the beginning.
3:58 [m. 123]--Part 1,
varied
repeat, with smoother accompaniment lines, as at 0:18 [m. 13].
4:14 [m. 135]--Part
2.
Complementary phrases in C minor and B-flat minor, as at 0:34
and 1:24
[m. 25].
4:25 [m. 143]--Passage
of
buildup in B-flat minor, as at 0:46 and 1:35 [m. 33].
4:39 [m. 153]--Climactic
passage
ending with plaintive first violin lines, as at 1:00 and 1:48
[m. 43].
4:52 [m. 163]--Final
cadence
phrase ending with G-major chords, as at 1:13 and 2:02 [m.
53].
Coda
5:03 [m. 171]--The
coda is a
mildly decorated version of the rustic dance material from the
“trio”
in G major. After one phrase, the first violin emerges
into
isolated rising two-note figures with descending responses
from the
inner instruments over syncopated repeated notes (on the
“dominant”
note, D) from the cello. As the music becomes ever
quieter, the
cello, dovetailing with the first viola, plays an ascending
arpeggio on
a “diminished seventh,” but this mild disquiet is quickly
dismissed
with a plucked cello chord and two final G-major chords from
all
instruments, the first one short, and the second one held
longer.
5:26--END OF MOVEMENT [183
mm.]
4th
Movement: Vivace ma non troppo presto (Sonata-Rondo
form). B
MINOR--G MAJOR, 2/4 time.
EXPOSITION
0:00 [m. 1]--Theme 1
(Rondo
Theme). The first viola, lightly accompanied by the
second viola
and cello, plays the hushed gypsy-inspired main theme, whose
defining
characteristic is its trill-like opening on an upbeat.
It begins
in the “wrong” key, B minor, and remains there until the three
instruments reach a half-cadence. It is not the
minor-key opening
that is unusual (the main key of the quintet is a major key),
but the
fact that it is not centered on G (the center of the 1st
and
3rd movements and also heavily present in the 2nd).
0:10 [m. 9]--The
violins enter
and begin the theme at the same pitch level, but at a sudden
loud
volume and with new harmonies that shift it decisively to the
“correct”
key of G major.
0:14 [m. 13]--The
instruments
begin a richly harmonized and joyous dance tune in G major,
the cello
playing plucked chords. After this full statement, it is
given
again at a suddenly quiet level and incorporates the
trill-like rhythm
associated with the Rondo Theme. The first violin and
first viola
pass the trill-like figures between them, and the cello drops
out for
the quiet statement.
0:22 [m. 21]--A sort
of
“closing phrase” with slower chords and repeated notes
somewhat
obscures the meter. Its repetition rapidly increases in
volume,
introducing the trill-like motion again, and plunges downward
in full
harmony with powerful accents.
0:33 [m. 31]--The
opening
material returns, with the trill figures in the first violin
and heavy
off-beat syncopation in the supporting harmonies. Rather
than
settling again on B minor, it instead moves to the related
major key to
B minor. This happens to be D major, which is the
“dominant” of
the home key of G major and where the second theme would be
expected to
appear. The trill figures emerge into a sweeping arch,
and
three-note descents passed between the two violins lead into
the
following triplet rhythm.
0:40 [m. 38]--Transitional
passage.
The second violin and first viola introduce a murmuring
triplet rhythm while the second viola and cello play plucked
supporting
material. The first violin plays isolated three-note
fragments
beginning on upbeats. The material is anchored to a bass
note of
A, which is the “dominant” of D major and helps to greatly
anticipate
an already expected pull toward D for the second theme.
0:50 [m. 47]--The
transitional
passage centered on A continues, with two-note fragments
passed between
second violin and first viola, the first violin joining the
lower
instruments on the plucked material. The murmuring
triplets drop
out here.
0:54 [m. 52]--Theme
2. D
major finally clearly emerges here, and the first violin plays
the
winding Theme 2 in triplet rhythm. It consists mostly of
arching
arpeggios with smooth chord support and light accents on weak
beats. After an initial phrase in which the first violin
ends up
shooting farther upward, the triplets are passed to the other
instruments. The second violin descends with them, then
the cello
and first viola ascend, and finally the second viola and cello
descend
again. They briefly come to rest on a quietly suspended
dissonance (an “augmented sixth” chord).
1:05 [m. 61]--The
arching
triplets of Theme 2 erupt in a sudden outburst. The
theme is then
extended with strong syncopations in the violins against
continuing
triplets in the lower instruments. The first violin then
enters
with a plunging arpeggio on the triplet rhythm This
leads to a
cadence on D major. The syncopated material and the
plunging
arpeggio are stated again, with the arpeggio a step lower and
the
cadence shifted to the home key of G major for the return of
the Rondo
Theme and the beginning of the development.
1:18 [m. 73]--The
music is
suddenly quiet again. In a transition to the Rondo Theme
at the
G-major cadence, the trill figures are passed between the two
violas
and then to the violins. When the violins get them, they
steadily
descend against a very quiet background.
DEVELOPMENT
1:26 [m. 81]--Rondo
Theme. It is given in B minor, as at the opening, but
the opening
is passed from the first viola to the first violin. The
continuation is given to the first viola as at the opening,
but the
second violin is now incorporated into the
accompaniment. The
theme is lightly varied and extended by a bar. The first
violin
drops out after its isolated participation in the beginning of
the
theme. As at the opening, the theme reaches a
half-cadence.
1:36 [m. 90]--The
half-cadence
in B minor is mysteriously diverted in a new direction with
echoes of
the jumping motive directly preceding it. The music
becomes even
quieter, and the harmony moves from B minor toward G minor,
descending
through B-flat and A. The chords are colorful and
subdued, and
the last one is isolated by a rest. It is another
suspended and
expectant “augmented sixth” harmony.
1:47 [m. 99]--A
section of
quasi-fugal counterpoint begins in G minor. The first
violin
plays the dance tune from 0:14 [m. 13] while the second violin
and
violas play syncopated lines that incorporate the trill
figure.
The cello enters later, also playing the dance tune, the first
violin
moving to the syncopated lines. The first viola briefly
drops
out, and is the next instrument to play the dance tune.
1:59 [m. 111]--The
counterpoint
breaks, and the instruments suddenly quiet down. They
begin to
play the trill figures from the Rondo Theme, and suddenly
swell in
volume again. Then the trill figures acquire a strong
downward
octave leap, and this form is passed between the violins and
second
viola over chromatic, syncopated lines in the first viola and
cello. The cello then plays the trill with the octave
leap,
passing its syncopated line to the first violin before taking
it up
again.
2:09 [m. 119]--
The first
violin begins another statement of the dance tune in C minor,
but it is
interrupted by another sudden quieting with all instruments
coming
together on the trill figures. Suddenly loud again, the
violins
leap up to descending syncopated lines, then again take up the
trill
figures. The syncopated lines are then played in all
instruments
except the first violin, who again introduces the version of
the trill
with the octave leap. The music moves toward D minor and
A minor.
2:20 [m. 129]--In A
minor, the
trill figures from the Rondo Theme opening are passed
forcefully from
the second violin and first viola in unison to the
cello. The
first violin and second viola play loud punctuations.
The trill
figures then shift down a half-step, and the first violin
joins on
them. The now-familiar syncopated lines once again
appear.
The same pattern is repeated, this time in C-sharp minor.
2:32 [m. 141]--A
slightly
different version of the previous pattern begins in B-flat
minor.
It is again in an intricate counterpoint. It culminates
in a
forceful rising passage with heavy syncopation. After
two more
bars of trills, the forceful rising passage reaches even
higher with
its syncopations and moves to the “dominant” harmony of B
minor,
signaling the return of the opening key and the re-transition
out of
the development section.
2:44 [m. 153]--The
opening of
the Rondo Theme itself sneaks into the viola parts over the
“dominant”
harmony of the opening key, B minor. The first viola
continues
the thematic material, and the other instruments introduce
long-short
dotted rhythms. The cello plays a syncopated repetition
of the
“dominant” note (which is F-sharp). As the energy
culminates,
with the upper instruments suddenly moving together, the
strong buildup
is abruptly arrested, leaving the first violin and cello on
bare
F-sharps four octaves apart.
2:56 [m. 164]--Re-transition.
It
is highly similar to the transition into the development from 1:18 [m.
73]. It is quiet and based on the trill figures from the
opening
theme. The cello drops from F-sharp to D, the “dominant”
of the
home key of G major. The first violin stays on F-sharp,
which is
a common note to the chords of B minor and G major. The
inner
instruments surreptitiously enter on the trill figures.
Then, as
the violas descend in harmonized trill figures, an actual trill is heard in
the first
violin.
RECAPITULATION
3:03 [m. 170]--The
trill
emphasizes the cadence onto G major, and the dance tune from
0:14 [m.
13], rather than the Rondo Theme (which was worked into the
re-transition material) serves as “Theme 1.” The pattern
is
reversed from the exposition, however, as the version with the
trill
figures is played first, high in the first violin with smooth
and
syncopated accompaniment. The first viola then plays the
tune,
the second viola dovetailing with the trill figures.
Against
this, the first violin plays the “original” version, but with
plucked
strings. The accompanying second violin and cello are
also
plucked.
3:12 [m. 178]--The
“closing
phrase” from 0:22 [m. 21] is now heard with subtle rescoring,
most
notably the persistent presence of the trill figures in the
second
violin and first viola. This causes the meter to be less
obscured
than it was before at this point. The “downward plunge”
with
sharp accents now also uses the trill figures. It
suddenly merges
into the three-note descents heard just before the
transitional
passage, the intervening appearance of the opening material
from 0:33
[m. 31] being omitted.
3:25 [m. 190]--Transitional
passage.
It is similar to 0:40 [m. 38], but is now over a bass
note of D, as the second theme will appear in the home key of
G.
The murmuring triplets are now in the two violins, and the
three-note
upbeat fragments are played in octaves by the two violas, the
cello
alone taking the plucked supporting material.
3:36 [m. 199]--Analogous
to
0:50 [m. 47]. Here, the two-note fragments are passed
between the
two violins, all three lower instruments playing the off--beat
plucked
chords.
3:40 [m. 204]--Theme
2.
Besides being in the home key, it is now played by the first
viola
instead of the first violin. The first violin joins the
smooth
chord support. As the first violin had done, the first
viola also
shoots upward. The following triplets are also
rescored.
The first descent is taken by the second viola, the ascent by
the cello
and first violin, and the last descent also by second viola
(alone). As in the exposition, the instruments come
together on
the suspended “augmented sixth” harmony.
3:52 [m. 213]--As at
1:05 [m.
61], there is a sudden outburst on the Theme 2 triplets.
They are
now played by their original instrument, the first
violin. The
first violin also takes a greater role in the syncopated lines
than it
had in the exposition. The first plunging arpeggio leads
to a
cadence in G major, as expected, though the arpeggio itself is
slightly
varied. The second is greatly altered, and seems to want
to move
away from G major, first possibly to C major and then to the
ubiquitous
B minor. The trill figures of the Rondo Theme enter in
the second
viola overlapping with the arpeggio, which they had not done
before.
4:05 [m. 225]--The
overlapping
trill figures emerge into a long transition using them.
They are
passed from the violas to the violins, becoming ever
quieter.
Finally, they come together, not in B minor, but in B major. The Rondo
Theme itself
is then unexpectedly played in the B-major key, extremely
lightly and
quietly, with short, almost tremolo
repeated notes as accompaniment. The theme is expanded,
with the
trills and short notes in different instruments at different
times, and
then there is a rapid and dramatic crescendo.
4:20 [m. 239]--The
first violin
begins a staggered scale descent over the “dominant” harmony
of B
major. Then the other four instruments join in the
scale, all
five playing in a massive unison. While the descent is
staggered,
with turns back upward between groups of four, the following
ascent is
straight and continuous. The ascending scale cuts off
and is
followed by two huge “dominant” chords that create a great
expectation
for a grand arrival and cadence in B major. This is
thwarted with
the arrival of the coda.
CODA--Animato
4:28 [m. 248]--The
melody note
arrives on B as expected, but the harmony underneath it is G
major, a
“deceptive” cadence that finally and firmly establishes the
quintet’s
home key. The coda begins with a new “gypsy” theme with
stamping
chords after the beat in the violas and a steady cello bass,
the
violins taking the heavily accented theme itself. It is
given
twice, using five-bar phrases in a blatant gypsy homage.
4:36 [m. 257]--The
upbeat of
the dance tune originally heard at 0:14 [m. 13] comes
immediately after
the final downbeat of the new “gypsy” tune. The dance
tune is
played more vigorously than ever, and after one four-bar
phrase it
leads to the trill figures of the Rondo Theme, which also
complete a
four-bar phrase. In the dance tune, the violas and
violins
continue to alternate the two-note groups. At the very
end of the
Rondo Theme phrase, the trill figures are passed to the violas
so that
the violins can “breathe.”
4:44 [m. 266]--The
“gypsy” tune
is heard again, beginning with a downward scale flourish on
the first
violin. The violas now play continuous winding notes
based on the
trill figures, and the cello plays leaping octaves. The
second
phrase is expanded to seven bars by repeating segments of the
tune, the
first violin reaching ever higher before cascading downward to
four
strong chords. The Rondo Theme trill figures overlap the
last of
these chords in the second violin and first viola.
4:54 [m. 278]--The
trill
figures from the Rondo Theme have the last word, twice working
steadily
and feverishly upward and then back down. Against them,
an actual
(faster) trill is heard in the first viola, then high in the
first
violin. The first violin trill leads to a G-major chord
that is
sharply cut off. There are then two final chords from
all
instruments, the second of which is held three beats.
The last of
these is a downbeat to compensate for the upbeat with which
the
movement began.
5:12--END OF MOVEMENT [287
mm.]
END OF QUINTET
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