I. Adagio - Allegro Vivace (0:00): a standard sonata-allegro form in A major/minor, with introduction and no recapitulation. *INTRODUCTION* 0:00 - Adagio: a gorgeous slow introduction with a 4-bar theme. Notice the similarities between this introduction, the "Adagio non lento" 2nd movement and the coda of the whole quartet (this is an evidence of thematic transformation). 0:54 - dominant preparation, with a viola trill that leads to... *EXPOSITION* 1:18 - ...a rising and turbulent semiquaver figure which will be very important. 1:25 - T1 in tonic, precedeed by a 3-part imitation and stated fully by the 1st violin. Made out with dotted figures and often with sforzandi (long notes) and grace-note ornaments. 1:43 - T1 counterstament. 2:05 - transition. 2:21 - T2 in E minor, somewhat reminiscent of T1. 2:50 - closing theme, brought by the cello and extended to the 1st violin. *DEVELOPMENT* (notice the proeminence given to the 1:18 motif) 3:16: start of the development. 3:21: fake T1 entry in the cello, leading to a whirlwind in B minor. 3:39: contrast, but still tense (look at the diminished chords). 3:56: transitional T1 starting in G minor, but modulating to A minor and E minor. 4:18: calmer moment giving respite, but leading to... 4:43: ...the dominant preparation, with the rising semiquaver figure. *RECAPITULATION* 4:49: T1 in tonic once again, but without the imitation seen back then. 4:58: prelude to the transition. 5:09: transition. 5:20: T2 in tonic as well. 5:47: apparition of the rising figure, yearning for the closing theme. 6:01: closing theme finally returns, now played by the viola and in the tonic. *CODA* 6:24: start of the coda. 6:47: T1 showing up, now with a different accompaniment from the static harmony (shown in both exposition and recapitulation). 7:00: virtuosic string-crossing on the viola, with enhances the accompaniment; violins in octaves. 7:18: finally heading to the end, with a diminished-chord in 7:22. II. Adagio Non Lento (7:34): a stunning ABA-coda slow movement in F major, with B being an intricate 4-part fugue. *A SECTION* 7:34: 19 bars of a masterful chorale, somewhat pastoral, with main melody played by the 1st violin. What seems to be only the melodic contour becomes a transformation of the Introduction in measure 9 (8:05). *B SECTION - FUGUE* 8:50: a lonely viola introduces the main subject for a four part fugue. It is slightly altered in its entries (2nd violin and cello) to keep in the key. Extense use of suspensions. 9:31: brief sequence, with use of canon between viola and 1st violin. 9:56: transition to A minor, where 2nd violin and cello take the lead until... 10:28: ...a short "Poco Animato" interlude, inspired in 4:56 motif. 10:53: INVERSION!!! The main subject is now presented in its inverted form, adding to the complexity of this fugue. This new flowing semiquaver figure is taken from the 1st violin by the cello, while the 2nd violin and the viola exchange their subject. 11:16: brief melody + staccato texture, with a modulatory and canonic passage following. 11:51: transition to the climax, noting the harmonic intensity of 12:02 (where all the rhythms combine). 12:12: the original subject triumphantly returns, being exchanged between the three upper instruments (with a pedal A below). 12:33: recall of the "Poco Animato", cut by an ad. lib. cadenza on the 1st violin. *A SECTION* 13:03: a special relief hits when the gorgeous starting chorale is played after such a fugal journey. It's almost unaltered, exception made to minor flourishes in 13:43 and 13:55. *CODA* 14:12: violin holds a D pedal point, viola sings the fugal subject once more, being answered by 2nd violin and cello. 14:35: the turbulence is cut short by a return of the chorale. The subject peacefully closes the movement in the tonic (F major), culminating in a mid/high register tonic chord. Mendelssohn was, definitely, a child prodigy. He shows, at age 18, a special approach and intimacy with music. In this string quartet, it's important to think he already displays knowledge of chamber music writing (with a generous viola-part). This is definitely great stuff!!!!! PS: soon I'll be analyzing the other movements.
Legend. Beginning a minor key work in the major key was pretty unheard of. 2nd movement use of minor 6th chord reminds me of beethoven's cavatina from op. 130
He was a truly amazing genius. He died way too young like Mozart, Schubert, Chopin and Schumann. They all accomplished an amazing amount in a very short time. How much more would they have done if they lived longer?
@@canman5060 the octet is fantastic but i much prefer the string quartet form. The octet for what it is is definitely one of the greatest pieces of chamber music ever written, but octets feel very cluttered and messy to me, which is why I prefer string quartets. As for early Romantic string quartets, this and his 6th are about as good as it gets.
00:00 : I. Adagio (basé sur le lied Ist es wahr op.9 n°1 de Mendelsson) 00:54 : Ist es war 01:25 : Thème 1 (basé sur le rythme de Ist es wahr et similaire au premier thème du premier mouvement du quatuor n°15 op. 132 de Beethoven). 02:05 : transition vers le 2e thème en mi mineur 02:21 : 2e thème en mi mineur 02:50 : 3e thème en mi mineur 03:16 : Développement 04:49 : Réexposition 05:20 : 2e thème en la mineur 06:01 : 3e thème en la mineur 07:34 : II. Adagio non lento (thème basé sur le rythme de Ist es wahr) 08:50 : Passage fugué (thème basé sur le 3e thème du premier mouvement) 15:25 : III. Intermezzo: Allegretto con moto (thème similaire à celui de la fugue du 2e mouvement) 16:59 : Allegro di molto 18:56 : Retour de l'Allegretto con moto 20:09 : IV. Presto 20:43 : 1er thème (similaire dans son accompagnement et son intensité lyrique au 1er thème du 4e mouvement de l'op. 132 de Beethoven) 23:03 : Retour de la fugue du deuxième mouvement 24:22 : Retour du récitatif 26:05 : Retour de la fugue du deuxième mouvement, sur l'accompagnement du récitatif 26:43 : Adagio non lento (thème de la fugue) 27:20 : Adagio du premier mouvement
I am honestly in love with this piece. This is the one that made me dive deeper into classical music ( Cuz growing up i was surrounded with pop and edm music ) I just wish more people of my generation would see this beauty too yk? PS. I'm like- 14 and a non musician PPS. Twosetter here and yeah i discovered this through Eddy's posted recording of the 1st Movement(?)
Thanks for the upload! "The coda to the finale of Brahms' Third Symphony is an occasion for a return to the opening theme of the first movement, but this example of cyclic form is based on the practice of Mendelssohn, principally in the String Quartet in A minor and the Piano Sonata in E major." Sonata Forms, by Charles Rosen, Revised Edition, 1988, p. 352
Rather unusual tonal relationship: the secondary themes in E minor (the dominant minor) 2:20. Charles Rosen points to only two other instances in the 19th-century repertoire with such relationship: Mendelssohn's "Scottish" Symphony, Op. 56, and Brahms's Rhapsody in G minor, Op. 79, No. 2. Charles Rosen, "Brahms the Subversive," in Brahms Studies, ed. Bozarth, p. 105. A further interesting point, tonally, in this quartet, is the use of an introduction in A+.
Beethoven sonata #27 movement 1 is in e minor, secondary theme is in b minor. Almost every minor Key composition by Bach, Scarlatti etc modulates to dominant minor as often as relative major.
From presto to adagio to allegro ...ending in adagio... al most brought tears to my eyes...mendelssohn utilizes such layers with his pieces...excellent !
I hear parts of the violin concerto. He also has a great affinity with Jew folks song. I love his ability to write always a second voice...it is always present..thank you. It is a piece to study with great detail...good day.....
I, of course, apologize for such a statement. but. Usually this quartet (emerson quartet) plays very well. But here, throughout the recording, I can't help but feel that the people just didn't look at the notes. How so? in the 3rd movement, for example, the note "do" in the second bar is written without a dot. detail. igpaetsya with a dot, why? and there are a huge number of such moments throughout the entire performance. There is no change of states where they are written. Very strange recording, it turns out completely different music. Although the staff is very knowledgeable. Just weird.
FYI: I use Paint (then take printscreens and adjust) along with Adobe Premiere Pro. There are lots of nice features that come with premiere pro. In addition there are a bunch of good tutorials on YT on how to work with it.