String Quartet No. 9 in C Major, Op. 59, No. 3 - Viola

String Quartet C by Beethoven
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String Quartet No.

String Quartet No. 9 in C Major, Op. 59 No. 3, "Rasumovsky": II. Andante con moto quasi allegretto

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The third movement is not the wild scherzo so associated with Beethoven, but rather, a Menuetto marked Grazioso. Moderate and suave, it shares a noteworthy trait with the first movement: rather than distinctive themes, it returns to washes of essential motion, gentle scales in the minuet that sharpen into heroic arpeggios in the trio.

Both middle movements have a relaxed quality so different than the middle movements of the other two Razumovsky quartets; they seem poised and reserved if not curiously hesitant. The Menuetto even fails to properly conclude. An unresolved bridge-like coda connects it seamlessly to the finale, an interim passage wherein the minuet's clear major tonality clouds into the minor, pauses on the dominant, and waits with baited breath. The finale is one of Beethoven's grandest conceptions. Much like the function of the dissonant beginning in the first movement, the minuet's coda provides a dark tension out of which the bright energy of the last movement emerges like the sun.

The first violin establishes a light, driving motion that is perpetually sustained. Its long undulating theme is taken up by each of the other instruments in turn, thickening the texture with the apparent beginning of a mighty fugue. But as in many great contrapuntal wonders of the Classical era, the fugue technically a canon is really a short lived fugato , a primary theme whose character is the evocation of a fugue, a theme of brilliant distinction within a tapestry of contrasting material that fills the space between fugal episodes like gold surrounds the setting of a few precious gems.

The fugato briefly recurs with a new urgency in the development and then crowns the recapitulation, elongated with a crystal clear countersubject for a conclusion of truly heroic impact.

Relationships

The waves of shining ribbons swell and distinctly diverge, the treble rising, the base dropping: here Beethoven completes a mighty symmetry across the whole quartet by reprising the opening wedge of dissonance transformed with resolute harmony, a brilliant cadential coda in C major. All three of the Razumovsky quartets are conceived on larger scale that even the most noteworthy of their predecessors from any composer.

Beethoven's genius enabled him to do this while, at the same time, strengthening a sense of unity across the greater expanse. Two of the quartets fuse their last movements together without a break in the music, a further technique of joining separate parts into a larger, unified whole.

There are symmetries separated by vast distances such as the beginning and end of the third quartet. It can be argued that there are even specific harmonic relationships between the end of one quartet and the beginning of the next. Many have suggested that Beethoven conceived of the three separate Razumovsky quartets as a unified whole. The vast first movement of Op. Perhaps the three quartets function like a gigantic three movement work with a broad and complex first movement in F major, a tense contrasting movement in e minor, and a bright, exultant finale in C major.

A performance of the complete set in a single concert gives this very impression. With the proper preparation for its context within this larger setting, the third quartet acquires a further triumphal radiance.

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The distinguished scholar Leonard Ratner suggests that all of Beethoven's quartets may even form a kind of mega-work, a single great narrative that stands apart from all other music in history. All rights reserved.

2. Andante con moto quasi Allegretto

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String Quartet No.9, Op.59 No.3 (Beethoven, Ludwig van)

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