BEETHOVEN String Quartet No. 6 in B-flat major (Op. 18, No. 6) Score
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- čas přidán 21. 08. 2019
- "The String Quartet No. 6 in B♭ major, Op. 18, No. 6, was written between 1798 and 1800 by Ludwig van Beethoven and published in 1801, and dedicated to Joseph Franz von Lobkowitz.
The first movement is in sonata form. The first theme starts in B♭ with a conversation between the first violin and the cello. After a while the second violin takes over the conversation from the cello. It then modulates to the dominant of F major and then F minor for the second theme at around m. 45. After a repeat of the first and second themes, the development section starts in F major. It starts by focusing on the "turn" figure of the first theme. It then shifts to D major and on to G minor and eventually returns to F major before shifting to B♭ for the recapitulation. This time around the second theme stays in B♭. The movement ends without a coda.
The second movement is in E♭ major and starts with the first violin playing a lyrical melody in 2/4 time. The mood shifts with the move to a minor key and unexpected accents and silences. The viola and cello interject with an odd motif marked "queste note ben marcate".
The Scherzo returns to B♭ major and is a "tour de force of syncopation" and "an explosion of rhythmic eccentricity". "It depends on rhythmic effects of 3 x 2 as against 2 x 3 within the 6 eight-notes to the bar in a moderate 3/4 meter."
The fourth movement is the crux of the piece and possibly the highlight of Op. 18. It is marked "Questo pezzo si deve trattare colla più gran delicatezza" ("This piece is to be played with the greatest delicacy".). The first section, in 2/4 time is marked Adagio and on one reading matches the "Melancholy" of the title. The second section marked "Allegretto quasi allegro" is in 3/8 time and is more sanguine. It is a fast and simple evocation of a Viennese ballroom or German country dance. This proceeds in contrast to the first section but eventually grinds to a halt on a fortissimo diminished chord. There follows a brief return of section 1 (10 bars) followed by a briefer return of section 2 (5 bars) (in a minor) followed by an ever briefer return of section 1 (only 2 bars). This is followed by section 3, which is really a lengthier return of section 2, which starts in G and moves back to B♭."
-Wikipedia 2019
Performed by the Emerson String Quartet (Eugene Drucker, violin; Philip Setzer, violin; Lawrence Dutton, viola; Paul Watkins, cello)
Allegro con brio - 00:05
Adagio ma non troppo - 05:56
Scherzo allegro - 12:48
La Malinconia Adagio / Allegretto quasi Allegro - 15:46 - Hudba
00:05 : Allegro con brio
00:45 : 2nd thème en fa majeur
01:22 1er thème utilisé dans la coda
01:34 Reprise
03:01 Développement
04:22 Réexposition
5:03 2nd thème en sib majeur
05:56 : Adagio ma non troppo
12:48 : Scherzo allegro
14:20 Trio
15:46 : La Malinconia
16:39 Accords contrastants
17:20 section fugato
19:11 : Allegretto quasi allegro
21:24 Reprise de la Malinconia
Beethoven's last string quartets, these unique masterpieces, tend to push in the shadow the six quartets of op. 18, which include so many pages where Beethoven's genius is blossoming - for instance the slow movement and the tempi alternances of the finale in this quartet number 6
7:21 I love this, so profound and dark
5:56 Adagio ma non troppo
12:48 Scherzo
15:46 La Malinconia (Adagio)
19:11 Allegretto quasi allegro
0:01 allegro con brio
This is so great
the adagio ma non troppo omg its so lovely so calming, but not boring, i love it, the instruments blend so well, not too much, not too less
( Edit: i dont mean that all slow movements in all pieces are boring except this, it just doesnt get my attention, but this one it's so good )
10:13 damn thats so big and wonderful :')
(Edit 2: but ofc there are some other slow pieces out there that is so wonderful)
Wunderschöne Interpretation.
omg its so good, i wish i played the violin as good as this and played it together with a string quartet, this is so so beautiful i cant explain.... i REALLY want to play this, i could listen to this all day..... the 2nd movement is SO SO SO SO SO BEAUTIFUL WOW the harmonies are so good, :') i am really begging to play this ngl i know im overreacting but its SO good
I'm playing this with my quartet right now, and I don't blame you for thinking this, it's so much fun! I'm playing the second violin part and loving it
Suena a Beethoven, un genio incomprendido con esas disonancias increíbles...
La malinconia 15:47
I think he was running out of paper in the 2nd movement and wanted to compress the whole thing lol
Hahaha!
5:56 12:49 15:46
No livro Angustia e Triunfo de Jan Swafford nas paginas 264 a 271 ele explica porque essa peça é genial.
Muito obrigado pela recomendação!
No conozco el libro ni al autor, pero estaría muy agradecido si pudieras seleccionar algunas ideas o frases de ese libro y trasladarlas aquí. Agradecido! Obrigado!
scherzo 12:46
13:43
12:48 스케르초는 약박을 강조하는 sfz가 붙여짐
Origins...
Music subject brought me here
Nothing can bring you to my channel, you are on a proper course
As a composer, I completely understand why he chose to notate the 2nd mvt the way he did, but wow do I really want to just double the time value of the notes and tempo
why did he chose to do that ?
@@lolmarie9152 To have a little fun and screw with people, probably.
@@magnuscroify Beethoven does a little trolling
@@lolmarie9152 because notating is very important, it can change the character and the feeling of the tempo
@@kovacsmihaly okay thank you
Somebody's tipping his hat to Mozart here...
Excurb1a gang
Hell yeah
It sounds like mozart
OMG no it does not!!!!
nəʊʊʊ!!!
Simply, it sounds like Classical era
Why would you say something so mean.
they were rushing af
What are you talking about? They are playing way below Beethoven's metronome markings (at least, in the first movement).
They were not rushing.
They were playing quickly, yes, but they were not rushing.
@@Kris9kris Eybler quartet plays the first movement at Beethoven's metronome markings and it sounds much too quick. The more natural approach is reading the metronome metrically, where whole note = 80 (marking for the first movement) becomes half note = 80. Try it yourself, very enjoyable tempo.
Just found this piece of music, and it was like where do I know this from? I don't know but I love it 😁
playing quickly is not rushing
15:48