the relationship between A and C is insane in this piece... begins with A and C in violin and viola, last movement ends with A B C as melody. A minor and A major sections alll throughout the movements in C
Brian Bernstein now the secondary group in mvt I is mostly in G major, the expected key in a Classical sonata form. The development section presents some fascinating modulations, including a tritone about midway through the section.
There's such a contrast between the sombre, chromatic slow intro to the first movement to the merry, bucolic Allegro section. This pattern occurs frequently in Beethoven's music
Dan Cosley the slow 2nd movement is a phenomenal creation, even for Beethoven. It's so filled with pain and anguish throughout. Even the modulation to the relative major in the middle of the mvt provides little comfort.
In my opinion Mozart’s quartets can’t even hold a candle to Beethoven’s. I believe the Fourteenth quartet may be the greatest piece of chamber music in history.
This Beethoven string quartet is Mozartian in the sense of Mozart's string quartets dedicated to Haydn. The first and second violin- and to some extent the viola have all of the fun. I always follow the cello line because it's my chosen instrument but here it mainly serves as a fairly unexciting base line- except perhaps in the second movement with extensive pizzicato.
Timon de Nood the Menuetto is just a delight to listen to! It's as if Beethoven couldn't let go completely of 18th century Classicism, in an otherwise highly innovative work, and trio of quartets op. 59. The transition material from the minuet to the brilliant, mostly polyphonic finale was unprecedented for its time. Only the incomparable master Beethoven could have pulled this off so seamlessly.
@@isaacanwarwatts8844 Thoe awell, obviously, its justs that Beethoven's early and middle period don't get enough credit for its' contrapuntal genius. ie Eroica and this quartet.
The ostinato in the bass of the second movement (the two-bar phrase of a neapolitan followed by a diminished seventh chord) reminds me of something... I can’t remember what, but it sounds familiar. Hmm... The Firebird by Stavinsky?
@@dainaneithardt2413 I've seen this before. In some old editions of music with cello, when the treble clef is used, it means you're supposed to play an octave lower than the notes you see on the treble clef. And that's what the cellist is doing in this performance. I don't think publishers use this old notation these days.
