String quartet

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The Fitzwilliam Quartet

The term string quartet can refer to either a type of musical composition or a group of four people who play them. Many composers from the mid-18th century onwards wrote string quartets. The associated musical ensemble consists of two violinists, a violist, and a cellist. Even though a string quartet consists of two violins, a viola and cello, the double bass is almost never used in the ensemble mainly because it would sound too loud and heavy.

The string quartet was developed into its present form by the Austrian composer

Romantic and early-twentieth-century composers composed string quartets, including Mendelssohn, Schumann, Brahms, Dvořák, Janáček, and Debussy. There was a slight lull in string quartet composition later in the 19th century, but it received a resurgence in the 20th century, with the Second Viennese School, Bartók, Shostakovich, Babbitt, and Carter
producing highly regarded examples of the genre, and it remains an important and refined musical form.

The standard structure for a string quartet as established in the Classical era is four

rondo form or sonata rondo form
, in the tonic key.

Some string quartet ensembles play together for many years and become established and promoted as an entity in a similar way to an instrumental soloist or an orchestra.

History and development

Early history

A string quartet in performance. From left to right: violin 1, violin 2, viola, cello

The early history of the string quartet is in many ways the history of the development of the genre by the Austrian composer

musicologist David Wyn Jones cites the widespread practice of four players, one to a part, playing works written for string orchestra, such as divertimenti and serenades, there being no separate (fifth) contrabass part in string scoring before the 19th century.[1] However, these composers showed no interest in exploring the development of the string quartet as a medium. [2]

The origins of the string quartet can be further traced back to the Baroque trio sonata, in which two solo instruments performed with a continuo section consisting of a bass instrument (such as the cello) and keyboard. A very early example is a four-part sonata for string ensemble by the Italian composer Gregorio Allegri that might be considered an important prototype.[3] By the early 18th century, composers were often adding a third soloist; and moreover it became common to omit the keyboard part, letting the cello support the bass line alone. Thus when Alessandro Scarlatti wrote a set of six works entitled Sonata à Quattro per due Violini, Violetta [viola], e Violoncello senza Cembalo (Sonata for four instruments: two violins, viola, and cello without harpsichord), this was a natural evolution from the existing tradition.[4]

Haydn's impact

The musicologist Hartmut Schick has suggested that Franz Xaver Richter invented the "classical" string quartet around 1757,[5] but the consensus amongst most authorities is that Haydn is responsible for the genre in its currently accepted form. The string quartet enjoyed no recognized status as an ensemble in the way that two violins with basso continuo – the so-called 'trio sonata' – had for more than a hundred years. Even the composition of Haydn's earliest string quartets owed more to chance than artistic imperative.[6]

During the 1750s, when the young composer was still working mainly as a teacher and violinist in Vienna, he would occasionally be invited to spend time at the nearby castle at Weinzierl of the music-loving Austrian nobleman Karl Joseph Weber, Edler von Fürnberg. There he would play chamber music in an ad hoc ensemble consisting of Fürnberg's steward, a priest, and a local cellist, and when the Baron asked for some new music for the group to play, Haydn's first string quartets were born. It is not clear whether any of these works ended up in the two sets published in the mid-1760s and known as Haydn's Opp. 1 and 2 ('Op. 0' is a quartet included in some early editions of Op. 1, and only rediscovered in the 1930s), but it seems reasonable to assume that they were at least similar in character.

Haydn's early biographer Georg August Griesinger tells the story thus:

The following purely chance circumstance had led him to try his luck at the composition of quartets. A Baron Fürnberg had a place in

contrapuntist Albrechtsberger) in order to have a little music. Fürnberg requested Haydn to compose something that could be performed by these four amateurs. Haydn, then eighteen years old [sic],[7] took up this proposal, and so originated his first quartet which, immediately it appeared, received such general approval that Haydn took courage to work further in this form.[8]

Haydn went on to write nine other quartets around this time. These works were published as his Op. 1 and Op. 2; one quartet went unpublished, and some of the early "quartets" are actually symphonies missing their wind parts. They have five movements and take the form: fast movement,

minuet and trio I, slow movement, minuet and trio II, and fast finale. As Ludwig Finscher notes, they draw stylistically on the Austrian divertimento tradition.[6]

Joseph Haydn playing in a string quartet

After these early efforts, Haydn did not return to the string quartet for several years, but when he did so, it was to make a significant step in the genre's development. The intervening years saw Haydn begin his employment as

Mozart, in his early quartets, was among the composers moved to imitate many of their characteristics, right down to the vital fugues
with which Haydn sought to bring greater architectural weight to the finales of nos. 2, 5 and 6.

After Op. 20, it becomes harder to point to similar major jumps in the string quartet's development in Haydn's hands, though not due to any lack of invention or application on the composer's part. As Donald Tovey put it: "with Op. 20 the historical development of Haydn's quartets reaches its goal; and further progress is not progress in any historical sense, but simply the difference between one masterpiece and the next."[10]

Haydn's Quartet No. 53 in D major ("The Lark"), Op. 64, No. 5
I. Allegro moderato (6:12)
II. Adagio, cantabile (4:52)
III. Menuetto allegretto (3:47)
IV. Finale vivace (1:31)

The musicologist Roger Hickman has however demurred from this consensus view. He notes a change in string quartet writing towards the end of the 1760s, featuring characteristics which are today thought of as essential to the genre – scoring for two violins, viola and cello, solo passages, and absence of actual or potential basso continuo accompaniment. Noting that at this time other composers than Haydn were writing works conforming to these 'modern' criteria, and that Haydn's earlier quartets did not meet them, he suggests that "one casualty [of such a perspective] is the notion that Haydn "invented" the string quartet... Although he may still be considered the 'father' of the 'Classical' string quartet, he is not the creator of the sting quartet genre itself... This old and otiose myth not only misrepresents the achievements of other excellent composers, but also distorts the character and qualities of Haydn's opp. 1, 2 and 9".[11]

The musicologist Cliff Eisen contextualizes the Op. 20 quartets as follows: "Haydn's quartets of the late 1760s and early 1770s [opp. 9, 17, and 20] are high points in the early history of the quartet. Characterized by a wide range of textures, frequent asymmetries and theatrical gestures...these quartets established the genre's four-movement form, its larger dimensions, and ...its greater aesthetic pretensions and expressive range."[12]

That Haydn's string quartets were already "classics" that defined the genre by 1801 can be judged by

music publishing. Since Haydn's day, the string quartet has been prestigious and considered one of the true tests of a composer's art. This may be partly because the palette of sound is more restricted than with orchestral music, forcing the music to stand more on its own rather than relying on tonal color; or from the inherently contrapuntal
tendency in music written for four equal instruments.

After Haydn

Quartet composition flourished in the

Classical era. Mozart, Beethoven and Schubert each composed a number of quartets: "Beethoven in particular is credited with developing the genre in an experimental and dynamic fashion, especially in his later series of quartets written in the 1820s up until his death. Their forms and ideas inspired and continue to inspire musicians and composers, such as Wagner and Bartók."[13] Schubert's last musical wish was to hear Beethoven's Quartet in C♯ minor, Op. 131, which he heard on 14 November 1828, just five days before his death. Upon listening to an earlier performance of this quartet, Schubert had remarked, "After this, what is left for us to write?" Wagner, when reflecting on Op. 131's first movement, said that it "reveals the most melancholy sentiment expressed in music". Of the late quartets, Beethoven cited his own favorite as Op. 131
, which he saw as his most perfect single work.

three string quartets were all written in 1842 and dedicated to Mendelssohn, whose quartets Schumann had been studying in preparation, along with those of Haydn, Mozart and Beethoven. Several Romantic-era composers wrote only one quartet, while Dvořák
wrote 14.

In the 20th century

Second World War, some composers, such as Messiaen questioned the relevance of the string quartet and avoided writing them.[citation needed
] However, from the 1960s onwards, many composers have shown a renewed interest in the genre.

During his tenure as

Naxos Records) from 2001 to 2007. Margaret Jones Wiles composed over 50 string quartets. David Matthews has written eleven, and Robin Holloway both five quartets and six "quartettini". Over nearly five decades, Elliott Carter wrote a total of five string quartets; he won Pulitzer Prizes for two of them: No. 2 and No. 3. Three important string quartets were written by Helmut Lachenmann. The late 20th century also saw the string quartet expand in various ways: Morton Feldman's vast Second String Quartet is one of the longest ever written, and Karlheinz Stockhausen's Helikopter-Streichquartett
is to be performed by the four musicians in four helicopters.

String quartets of the classical period

Quartets written during the classical period usually had four movements, with a structure similar to that of a symphony:

  1. A fast movement in
    trio or (in later works) scherzo and trio, in the tonic key
  2. A fast movement, sometimes in rondo or movement in sonata rondo form
, in the tonic key

The positions of the slow movement and third movement are flexible. For example, in Mozart's six quartets dedicated to Haydn, three have a minuet followed by a slow movement and three have the slow movement before the minuet.

Substantial modifications to the typical structure were already present by the time of Beethoven's late quartets, and despite some notable examples to the contrary, composers writing in the twentieth century increasingly abandoned this structure. Bartók's fourth and fifth string quartets, written in the 1930s, are five-movement works, symmetrical around a central movement. Shostakovich's final quartet, written in the 1970s, comprises six slow movements.

Variations of string quartet

End of Arensky's String Quartet No. 2 for violin, viola and two cellos, played at the Casals Forum in 2023

Many other chamber groups can be seen as modifications of the string quartet:

  • The
    Mozart employed two violas in his string quintets, while Schubert's string quintet utilized two cellos. Boccherini wrote a few quintets with a double bass as the fifth instrument. Most of Boccherini's string quintets are for two violins, viola, and two cellos. Another composer who wrote a string quintet with two cellos is Ethel Smyth
    .
  • The string trio has one violin, a viola, and a cello.
  • The piano trio has a piano, a violin, and a cello.
  • The piano quintet is a string quartet with an added piano.
  • The piano quartet is a string quartet with one of the violins replaced by a piano.
  • The clarinet quintet is a string quartet with an added clarinet, such as those by Mozart and Brahms.
  • The string sextet contains two each of violins, violas, and cellos. Brahms, for example, wrote two string sextets.

Further expansions have also produced works such as the

Ginastera, Ferneyhough, Davies, İlhan Mimaroğlu and many others. Another variation on the traditional string quartet is the electric string quartet with players performing on electric instruments.[14]

Notable string quartets

See also: List of string quartet composers

Notable works for string quartet include:

Beethoven's Grosse Fuge, Op. 133
Merel Quartet at
Tonhalle Zürich
, 3 July 2013: Mary Ellen Woodside and Julia Schröder, violin; Ylvali Zilliacus, viola; Rafael Rosenfeld, cello

String quartets (ensembles)

Main article: List of string quartet ensembles

Whereas individual string players often group together to make ad hoc string quartets, others continue to play together for many years in ensembles which may be named after the first violinist (e.g. the Takács Quartet), a composer (e.g. the Borodin Quartet) or a location (e.g. the Budapest Quartet). Established quartets may undergo changes in membership whilst retaining their original name.

References

  1. ^ Wyn Jones 2003, 179.
  2. D'Indy's Cours de Composition Musicale (1912) cites the "timides essais" of Sammartini, Van Malder & Gossec
    . (p. 214)
  3. ^ Arthur Eaglefield Hull, "The earliest string quartet" The Musical Quarterly 15 (1929:72–76).
  4. ^ Wyn Jones 2003, 178.
  5. JSTOR 27764460
    .
  6. ^ a b Finscher 2000, 398.
  7. ^ This would put the date earlier, around 1750; Finscher (2000) as well as Webster & Feder (2001) judge that Griesinger erred here.
  8. ^ Griesinger 1963, 13.
  9. ^ Lindsay Kemp: Joseph Haydn: The String Quartets, Decca 200.
  10. ^ Tovey, [page needed].
  11. JSTOR 741992
    .
  12. ISBN 9781139056038
    .
  13. ISBN 0-06-075974-7.[page needed
    ]
  14. ^ EntertainersWorldwide. "String Quartet FAQs". Archived from the original on 2018-05-18. Retrieved 2018-05-18.
  15. ^ a b c "Famous String quartets", SapphireQuartet.co.uk. Archived 2012-04-18 at the Wayback Machine
  16. ISBN 0-06-075974-7
  17. ^ Eisen 2001, §3.
  18. ^ For a complete analysis of this quartet, see Griffiths 1983, [page needed]
  19. ^ Wyn Jones 2003, pp. 239ff.
  20. ^ Baldassarre 2001.
  21. ^ a b c d e f g Griffiths 2001, §5.
  22. ^ "DVORAK, A.: String Quartets, Vol. 8 (Vlach Quartet) – No. 3 – 8.553378". Archived from the original on 2018-07-20. Retrieved 2018-07-20.
  23. ^ Scholes 1938, p. [page needed].
  24. ^ a b c Griffiths 2001, §6.
  25. ^ a b c Griffiths 2001, §7.
  26. ^ Beaumont 2001.
  27. ^ a b c d e f g Griffiths 2001, §8.
  28. ISBN 1-885490-07-0. Online variant version [1999], as "Introduction: Helicopter String Quartet (1992/93)
    " (some omissions, some supplements, different illustrations; archive from 17 November 2014, accessed 11 August 2016).
  29. ^ Griffiths 2001, §9.

Sources

Further reading

External links
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