String Quartet No.16 in F, Op.135: 1. Allegretto
Ludwig van Beethoven (16 December 1770 – 26 March 1827) was a German pianis… Read Full Bio ↴Ludwig van Beethoven (16 December 1770 – 26 March 1827) was a German pianist and composer of the transitional period between the late Classical and early Romantic eras. He is often regarded as one of the most brilliant, prolific and influential composers of all time.
Beethoven is widely regarded as a master of musical construction, sometimes sketching the architecture of a movement before he had decided upon the subject matter. He was one of the first composers to systematically and consistently use interlocking thematic devices, or 'germ-motives', to achieve unity between movements in long compositions. (Some insight into the meaning of the germ-motive device is given at the end of this bio.) Equally remarkable was his use of source-motives', which recurred in many different compositions and lent some unity to his life’s work. He made innovations in almost every form of music he touched. For example, he diversified even the well-crystallised form of the rondo, making it more elastic and spacious, which brought it closer to sonata form. He was mostly inspired by the natural course of nature, and liked to write songs describing nature.
Beethoven composed in a great variety of genres, including symphonies, concerti, piano sonatas, other instrumental sonatas (including for violin), string quartets and other chamber music, masses, lieder, and one opera.
Beethoven's compositional career is usually divided into Early, Middle, and Late periods:
In the Early (Classical) period, he is seen as emulating his great predecessors Haydn and Mozart, while concurrently exploring new directions and gradually expanding the scope and ambition of his work. Some important pieces from the Early period are the first and second symphonies, the first six string quartets, the first three piano concertos, and the first twenty piano sonatas, including the famous "Pathétique" and "Moonlight" sonatas.
The Middle (Heroic) period began shortly after Beethoven's personal crisis centering around his encroaching deafness. The period is noted for large-scale works expressing heroism and struggle; these include many of the most famous works of classical music. Middle period works include six symphonies (numbers 3 to 8), the fourth and fifth piano concertos, the triple concerto and violin concerto, five string quartets (numbers 7 to 11), the next seven piano sonatas (including the "Waldstein" and the "Appassionata"), and Beethoven's only opera, Fidelio.
Beethoven's Late (Romantic) period began around 1816. The Late-period works are characterised by intellectual depth, intense and highly personal expression, and formal innovation (for example, the Op. 131 string quartet has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement). Works of this period also include the Missa Solemnis, the last five string quartets, and the last five piano sonatas.
Deconstructing the sonata form, both in the overall schema (movements, tempos) and in the micro-form, Beethoven began to use germinal ideas propelling the whole melodic, harmonic, and rhythmic progression. In the first quartet of the group (E flat major, Op.127 – February 1825), the Adagio has five variations (in this case, a source-theme becomes the backbone of the tempo). That same year, in July, Quartet in A minor, Op.132, features a first movement with the traditional two themes, but without contrast; they display and disseminate sub-sections and ‘germs’ in a circular frame, interlocking with each other. Beethoven's germ-motive is like a Bach choral, summoning the other voices around itself.
The last quartet, Op. 135 in F major, was composed in a downplayed form, going back to a more traditional four-tempo structure. But internally one finds the same frozen micro-structure: the first movement is harmonically ambiguous, whereas the scherzo sounds like Bartók, and in the finale, the canon ‘Es muss sein’ plays a joyful role. A terrible grave comes in afterward, to dissolve into a soft pizzicato: adieu music, adieu life . It was never heard by the now deaf Beethoven, and he died shortly afterward.
Beethoven is widely regarded as a master of musical construction, sometimes sketching the architecture of a movement before he had decided upon the subject matter. He was one of the first composers to systematically and consistently use interlocking thematic devices, or 'germ-motives', to achieve unity between movements in long compositions. (Some insight into the meaning of the germ-motive device is given at the end of this bio.) Equally remarkable was his use of source-motives', which recurred in many different compositions and lent some unity to his life’s work. He made innovations in almost every form of music he touched. For example, he diversified even the well-crystallised form of the rondo, making it more elastic and spacious, which brought it closer to sonata form. He was mostly inspired by the natural course of nature, and liked to write songs describing nature.
Beethoven composed in a great variety of genres, including symphonies, concerti, piano sonatas, other instrumental sonatas (including for violin), string quartets and other chamber music, masses, lieder, and one opera.
Beethoven's compositional career is usually divided into Early, Middle, and Late periods:
In the Early (Classical) period, he is seen as emulating his great predecessors Haydn and Mozart, while concurrently exploring new directions and gradually expanding the scope and ambition of his work. Some important pieces from the Early period are the first and second symphonies, the first six string quartets, the first three piano concertos, and the first twenty piano sonatas, including the famous "Pathétique" and "Moonlight" sonatas.
The Middle (Heroic) period began shortly after Beethoven's personal crisis centering around his encroaching deafness. The period is noted for large-scale works expressing heroism and struggle; these include many of the most famous works of classical music. Middle period works include six symphonies (numbers 3 to 8), the fourth and fifth piano concertos, the triple concerto and violin concerto, five string quartets (numbers 7 to 11), the next seven piano sonatas (including the "Waldstein" and the "Appassionata"), and Beethoven's only opera, Fidelio.
Beethoven's Late (Romantic) period began around 1816. The Late-period works are characterised by intellectual depth, intense and highly personal expression, and formal innovation (for example, the Op. 131 string quartet has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement). Works of this period also include the Missa Solemnis, the last five string quartets, and the last five piano sonatas.
Deconstructing the sonata form, both in the overall schema (movements, tempos) and in the micro-form, Beethoven began to use germinal ideas propelling the whole melodic, harmonic, and rhythmic progression. In the first quartet of the group (E flat major, Op.127 – February 1825), the Adagio has five variations (in this case, a source-theme becomes the backbone of the tempo). That same year, in July, Quartet in A minor, Op.132, features a first movement with the traditional two themes, but without contrast; they display and disseminate sub-sections and ‘germs’ in a circular frame, interlocking with each other. Beethoven's germ-motive is like a Bach choral, summoning the other voices around itself.
The last quartet, Op. 135 in F major, was composed in a downplayed form, going back to a more traditional four-tempo structure. But internally one finds the same frozen micro-structure: the first movement is harmonically ambiguous, whereas the scherzo sounds like Bartók, and in the finale, the canon ‘Es muss sein’ plays a joyful role. A terrible grave comes in afterward, to dissolve into a soft pizzicato: adieu music, adieu life . It was never heard by the now deaf Beethoven, and he died shortly afterward.
String Quartet No.16 in F Op.135: 1. Allegretto
Ludwig van Beethoven Lyrics
We have lyrics for these tracks by Ludwig van Beethoven:
"An die Hoffnung" Op. 94 LUDWIG VcN BEETHOVEN (1770-1827) cn die Hoffnung op.94 (aus…
1 Joyful, joyful, we adore You, God of glory, Lord of love; He…
9th Symphony Freude, schöner Götterfunken, Tochter aus Elysium, wir bet…
Ah perfido Ah! perfido, spergiuro, Barbaro traditor, tu parti? E son qu…
Ah perfido! Op.65 Ah! perfido, spergiuro, Barbaro traditor, tu parti? E son qu…
Ah! perfido Op. 65: "Ah! perfido" Ah! perfido, spergiuro, Barbaro traditor, tu parti? E son qu…
Ah! perfido Op. 65: "Per pietà non dirmi addio" Ah! perfido, spergiuro, Barbaro traditor, tu parti? E son qu…
Ah! perfido! Op. 65 Ah! perfido, spergiuro, Barbaro traditor, tu parti? E son qu…
An die Hoffnung op. 32 LUDWIG V. BEETHOVEN (1770-1882) cn die Hoffnung op. 32 Tex…
An die Hoffnung Op. 32 LUDWIG V. BEETHOVEN (1770-1882) cn die Hoffnung op. 32 Tex…
An die Hoffnung Op. 94 LUDWIG VcN BEETHOVEN (1770-1827) cn die Hoffnung op.94 (aus…
Joyful Joyful Joyful, joyful, we adore You, God of glory, Lord of love; He…
Moonlight Sonata Camper Van Beethoven Camper Van Beethoven We Love You All…
Presto Freude, schöner Götterfunken, Tochter aus Elysium, wir bet…
String Quartet in A major Kimi no te de kirisaite Omoi hi no kioku wo Kanashimi no…
String Quartet in A major Op. 18 No. 5: III. Andante cantabile Kimi no te de kirisaite Omoi hi no kioku wo Kanashimi no…
Symphony No. 2 in D Major I saw you standing on the corner You looked so big…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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72Cantata, BWV 115 "Mache dich, mein Geist, bereit": Aria "Bete, bete aber auch dabei" (Soprano)7:07
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Sylvain Pénard
00:05 : Allegretto
01:34 : 2e thème (tierce et quarte) demi ton au violoncelle
01:50 : fin de l'exposition, enchaînement direct avec le développement
02:40 : fausse réexposition (comparer avec 00:13)
03:18 : Réexposition
06:23 : Deuxième mouvement - Vivace
07:26 : section centrale
08:06 : la majeur caractère populaire
09:51 : Troisième mouvement lento assai, cantante et tranquillo
12:44 : Variation 2 section en do# mineur
14:30 : section en réb majeur (Elgar Nimrod)
17:39 : Quatrième mouvement - Grave ma non troppo tratto
18:48 : Allegro premier thème
19:14 : Deuxième thème en la majeur
19:44 : Reprise
20:42 : Développement
21:48 : Réexposition Grave
22:50 : Allegro premier thème
23:13 : Deuxième thème en ré majeur puis fa majeur
23:53 : Question posée pour la dernière fois et réponse dans la coda
Matt Dufon
23:49 I love his direction to “repeat the second part if you wish,” this demanding, exacting, moody perfectionist who was so precise about his musical directions suddenly had a laid-back moment at the end of his life and he wrote this masterpiece. “No worries,” he seems to be saying, “it must be, so if you’re in the mood, go ahead play that section again. No pressure, though.” In my opinion the greatest and most fascinating composer who ever lived. His late work still sounds modern.
skylar lim - composer
@Nick B i don't think it's strange at all! beethoven is truly one of the greatest composers
Eliza
After Bach, but I agree
PieInTheSky
The third movement of this may be the most stunningly beautiful thing I've ever heard.
Erik A
I'd say a 3 way tie between this, the Cavatina from 130, and the 3rd movement from 132.
Richard Russell
I agree with both of you. This present quartet, I hear in the third movement an end of life struggle, an acceptance, and the very gates of heaven opening before you. The way the D-flat chord is built around the opening note F (which is what makes it major, and thus THE crucial note) is somehow an yawning field, a stage upon which the drama is about to unfold. The choice of 6/8 suggests movement, and indeed the opening motif (starting at that third measure) has much movement, up and down, but never going anywhere. The middle section in C# minor is hesitant, a little frightened perhaps, but the acceptance eventually comes.
gfgf fgff
Listen to the last movement of Mahler’s 3rd, based entirely on this movement.
Sylvain Pénard
00:05 : Allegretto
01:34 : 2e thème (tierce et quarte) demi ton au violoncelle
01:50 : fin de l'exposition, enchaînement direct avec le développement
02:40 : fausse réexposition (comparer avec 00:13)
03:18 : Réexposition
06:23 : Deuxième mouvement - Vivace
07:26 : section centrale
08:06 : la majeur caractère populaire
09:51 : Troisième mouvement lento assai, cantante et tranquillo
12:44 : Variation 2 section en do# mineur
14:30 : section en réb majeur (Elgar Nimrod)
17:39 : Quatrième mouvement - Grave ma non troppo tratto
18:48 : Allegro premier thème
19:14 : Deuxième thème en la majeur
19:44 : Reprise
20:42 : Développement
21:48 : Réexposition Grave
22:50 : Allegro premier thème
23:13 : Deuxième thème en ré majeur puis fa majeur
23:53 : Question posée pour la dernière fois et réponse dans la coda
David Mehnert
I know I’m not alone in admitting this is my favorite Beethoven string quartet.
NickB
Eric Ness 13 easily my favorite with grand fugue