Classical Music | Music for Quartet

Recorded on 07/29/2015, uploaded on 04/17/2016

Musician's or Publisher's Notes

In the early 1840s, Schumann composed in energetic bursts devoted to one type of music: in 1840 he wrote over 100 songs, in 1841 three symphonies, and in 1842 five chamber works, including three string quartets. Schumann wrote his quartets after an in-depth study of those of Haydn, Mozart, and Beethoven. He stated that modern quartet composers must combine a respect for tradition—a contrapuntal and conversational texture in which every instrument "has something to say"—and innovation; we can see the latter in his creation of unusual forms for each movement as well as the intricate and complex rhythms found throughout the work.

The gentle and subdued first movement is a very concise sonata form. It opens with a descending fifth, and that interval dominates the movement. It is heard for example throughout the secondary theme—an extended melody in the cello against an offbeat accompaniment—and the development, which is concerned solely with the primary theme. The recapitulation begins with the secondary theme, but the primary theme and the fifth interval reappear to close the movement.

The scherzo, in F-sharp Minor, is a theme and four variations arranged in an unusual order: Variations 1-3 are heard before the theme on which they are based. The first three variations become increasingly active, after which the theme emerges as a lilting and plaintive melody in 3/8 meter. A final impassioned variation follows, in which the descending fifth reappears. The movement closes with a placid coda that features ascending fourths (descending fifths in reverse).

The Adagio, in D Major, adopts a rondo-like structure (ABABA Coda). "A" opens with a yearning hymn-like melody, followed by a counterstatement in the viola. "B" features an introspective dialogue between first violin and viola, with a throbbing accompaniment in the second violin. Later statements of "A" become very complex in texture, with prominent cross-rhythms. The finale adopts the most unusual structure: a rondo in 13 small but clearly delineated sections (ABACAD ABACAD Coda). The refrain is an exuberant melody in syncopated dotted rhythms. After the "D" section, the composer restates the entire rondo in new keys. An extended coda closes the quartet.      Notes by Brian Hart

Courtesy of International Music Foundation.