Op. 18, No. 3, Movement 4 - Presto - Score

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The Pascal String Quartet. Adagio cantabile, allegro, adagio cantabile.

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String Quartet no. 2 in G, Op. 18 no. 2

Allegro molto quasi presto. Questions There are no questions yet.


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Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. The easeful B flat Andante is a rondo. As Basil Lam points out in the BBC Music Guide to the Beethoven quartets, the twelve-bar theme 'is constructed with great subtlety; the melody, begun by the second violin, is taken over and repeated by the first before the statement has been completed'.


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  • String Quartet no. 2 in G, Op. 18 no. 2 - Free sheet music.

The smoothly flowing figuration of the theme is prominent in most of the movement, and Beethoven's use of contrasting harmonic areas prevents this fact from pre-empting the always welcome returns of the theme itself. Here was a rite of passage, a daring moment to entertain a dialog with colleagues, mentors and gods. As it turned out, Beethoven's Op.

Ludwig van Beethoven: String Quartet No.3 in D major, Op.18, No.3 (1798 and 1800)

Although these "early" period quartets fall within his "period of imitation" as it is often called with gentle disdain, they are bold, masterful quartets often overflowing with invention, amplified emotionality and brilliant contrapuntal feats while frequently referencing Haydn and Mozart as the finest points of imitation. Within, Beethoven demonstrates his complete assimilation of the art and some potent suggestions of where he might go next.

Of the six quartets in Op.

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Its mood is bright, lyrical and humorous with just a touch of poignancy in the slow movement. The scherzo is quite mild by Beethoven's standards and, equally uncharacteristically, there are no formal fugues nor a brilliant set of variations, no earth shattering destruction nor euphoric hymns of otherworldly grace. Here, Beethoven simply writes an extraordinary string quartet in the finest style, worthy of Haydn or Mozart and already finer than anything by any contemporaneous practitioner whose name, once fashionably noteworthy, is now lost to obscurity.

If there is any place where this "excellent, fine" quartet tips into the realm of genius, it is the fantastic finale, a tour de force of ingenious vivacity and wit.

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The opening movement is begins with a broad singing gesture in the style of Mozart whose luxurious lyricism and fecundity of thematic ideas appear to have strongly influenced Beethoven. The exposition features several themes, key areas and rhythmic styles, the very opposite of Haydn's typical monothematicism. Where Beethoven becomes Beethoven is in the brief but suddenly dramatic swatch of development that rises to a pitch and abruptly halts with a complete breakdown of harmony and sound.