141:
22:
302:
531:
511:
390:
1296:
140:
261:
The autograph manuscript for this quartet is inscribed "October 1810", but the paper on which it appears does not match the variety
Beethoven is known to have used at that time. It is more likely that he finished it several months later. It premiered in 1814 and appeared in print two years later,
270:
that "The
Quartet is written for a small circle of connoisseurs and is never to be performed in public." Upon listening to the piece, it becomes apparent why he made that assertion. This piece would have been quite out of character in 1810: it is an experiment on compositional techniques the
644:
major again, but returns to the tonic major (F major) beginning in bar 93. The move to a D-major chord in measure 107 corresponds to the similar passage in bar 49, but here the D-major chord functions as a V/ii, which initiates a
271:
composer would draw on later in his life. (Techniques such as shorter developments, interesting use of silences, metric ambiguity, seemingly unrelated outbursts and more freedom with tonality in his sonata form.)
535:, enharmonically respelled as D). This V–I motion of the Neapolitan is explicitly stated by the quartet in unison in bar 39. Bars 40–43 return to the lyrical nature of the second theme and solidify D
832:): It might be prudent to note that the "missing A" from the typical rondo-sonata form could be analysed as being shifted from its "rightful" place after "C" to a more intriguing place in bar 23.
285:) for the second time in four years, and this upset Beethoven greatly. All of his aristocratic friends had fled Vienna, but Beethoven stayed and dramatically complained about the loud bombings.
876:
said: this "comic-opera ending, absurdly and deliberately unrelated to the 'quartett serioso' – the true
Shakespearean touch that provides the final confirmation of the truth of the rest."
811:'s favourite rondo form for this movement (ABACBA). The absence of the A theme in between the C and second B is a surprise and adds interest by reducing the repetition of the A theme.
240:). In character and key, as well as in the presence of a final frenetic section in the parallel major, it is related to another composition of Beethoven's middle period — the
1073:
483:(bars 24–57): This is signified by a two-bar-long lyrical melody first stated in the viola, then passing through the cello and second violin, then cello again. A long V of D
39:
1316:
1326:
541:
major. A modified counterstatement of this entire gesture occurs, landing us on an even more explicit use of the
Neapolitan, again enharmonically respelled as D
807:. In a sonata-rondo, the piece follows the thematic outline of a rondo (ABACABA), and the tonal outline of a sonata (I V I or i III i, etc.). Beethoven uses
1014:
232:
It is one of the shortest and most compact of all the
Beethoven quartets, and shares a tonality (F) with the first and last quartets Beethoven published (
1018:
672:
major): Primary scalar motive of the beginning is developed. This coda is shorter than one might expect considering the already short development.
225:. It is commonly referred to as the "Serioso," stemming from his title "Quartett Serioso" at the beginning and the tempo designation for the third
1066:
905:
86:
58:
1143:
1094:
65:
1059:
553:(bars 58–59): There is no repeat of this already very short exposition, which adds to the startling nature of this piece as a whole.
1264:
1251:
1240:
1229:
1218:
1181:
237:
105:
1331:
1210:
1165:
1160:
1155:
1127:
1122:
1117:
1112:
1107:
1102:
872:): The light and bouncy ending is in sharp contrast to the dark, stormy, introspective mood of the rest of the quartet. Of this,
233:
222:
72:
683:, most of the themes and events of this movement – and the main theme of the second movement – contain some form of the motive D
1031:
1275:
43:
54:
435:
chord) important (bar 6, 19); the
Neapolitan appears in root position, not its normal first inversion, and the large-scale
1286:
1023:
856:(bars 82–97): Here is where the sonata part of sonata-rondo comes in. This time it is in F minor instead of C minor.
1321:
1045:
249:
32:
937:
79:
1027:
912:
13, no. 2 (Fall 2006): pp. 212–213. Citation on page 213 (archive from 27 October 2016, accessed June 2020)
888:
arranged this quartet for string orchestra, mostly by doubling some of the cello parts with double basses.
1300:
607:
455:(bar 21–23): The unison C on the downbeat of bar 21 (V of F minor) is reinterpreted immediately as the
145:
Sketches for the
Scherzo and Finale of String Quartet No. 11, from Beethoven's sketchbook of 1810–1811
1086:
697:
This movement is in D major, a startling and remote key from the F-minor first movement. The form is
206:
132:
557:
267:
415:
245:
755:
form, as typical in the third movement position. Although because of the very odd tempo marking
921:
804:
676:
263:
182:
445:
in bar 6 to C in bar 10) again emphasises the strident nature of this movement. It ends on a
646:
597:
426:
281:
226:
530:
510:
301:
1051:
997:
980:
756:
625:
reappears (bars 86–88) but is not recomposed as would be expected. We are again taken to D
603:
occurs beginning in bar 77, but the C prolongation is an upper pedal in the first violin.
446:
1082:
389:
515:, here enharmonically respelled as A). The A-major chord is also V of the Neapolitan (
1310:
960:
885:
254:
1041:
653:
456:
726:: The descending scalar cello leads through ever modulating tonalities starting a
1256:
600:
489:(bars 32–37) is unexpectedly resolved to A major, which is simply a deceptive V–
408:
218:
161:
21:
274:
The historical picture of this time period helps to put the piece in context.
970:
873:
689:–C–D–E found in the second bar, even if transposed and changed in some way.
258:, which he was composing in the same year he was working on this quartet.
956:
These sources contain information specifically about the Op. 95 quartet.
275:
241:
759:
warns against calling it a scherzo, preferring the phrase "march-trio".
752:
727:
436:
395:
350:
328:
307:
214:
154:
808:
715:
465:
major. A very short transitional phrase solidifies the move to D
1055:
1035:
15:
1276:
String quartet arrangement of Op. 14, No. 1 by
Beethoven
1042:
A manuscript of
Beethoven's sketches for Quartet No. 11
1284:
799:
IV. Larghetto espressivo; Allegretto agitato; Allegro
1209:
1174:
1142:
1093:
1002:
The String
Quartets of Haydn, Mozart, and Beethoven
196:
188:
178:
170:
160:
150:
120:
46:. Unsourced material may be challenged and removed.
742:(bars 112–183): The melody is now an octave higher
790:(bars 183–206): This time the tempo increases (
334:Allegro assai vivace ma serioso – Più allegro,
679:notes in an essay reprinted in the collection
1067:
8:
1074:
1060:
1052:
349:, F minor – D major – F minor – D major –
139:
117:
1019:International Music Score Library Project
938:Beethoven: String Quartet Op 95 ‘Serioso’
906:Open Forum: On the String Quartet, Op. 95
106:Learn how and when to remove this message
565:
1317:String quartets by Ludwig van Beethoven
1291:
897:
221:95, from 1810, was his last before his
618:is shorter this time (4 bars is all).
55:"String Quartet No. 11" Beethoven
649:(D–G–C–F), arriving on F in bar 112.
7:
1327:Music dedicated to family or friends
1024:Performance of String Quartet No. 11
747:III. Allegro assai vivace ma serioso
44:adding citations to reliable sources
720:section. It eventually falls apart.
293:The quartet is in four movements:
266:. Beethoven stated in a letter to
14:
1015:String Quartet No. 11 (Beethoven)
987:, pp. 195, 236, 269, 272–273
1294:
529:
509:
439:motion of the bass voice (from G
388:
300:
278:had invaded Vienna in May 1809 (
20:
1032:Isabella Stewart Gardner Museum
992:Beethoven: The String Quartets,
922:Siege of Vienna, 10–13 May 1809
31:needs additional citations for
924:Rickard, J. (5 November 2010)
1:
1175:Other middle period quartets
730:away from the opening scale.
693:II. Allegretto ma non troppo
647:circle-of-fifths progression
1197:No. 11 in F minor, Op. 95 (
1046:Morgan Library & Museum
975:Beethoven String Quartets 2
459:to the second tonal area, D
449:on the downbeat of bar 21.
1348:
1265:No. 16 in F major, Op. 135
1252:No. 15 in A minor, Op. 132
868:, F major (bars 133–175) (
766:(bars 1–40, with a repeat)
312:Allegretto ma non troppo,
1273:
138:
130:
125:
828:, F minor (bars 10–32) (
1332:Compositions in F minor
1028:Borromeo String Quartet
944:, accessed 22 July 2020
942:theomniscientmussel.com
928:, accessed 22 July 2020
862:, F minor (bars 98–132)
423:1st tonal area, F minor
965:The Beethoven Quartets
844:, F minor (bars 51–64)
838:, C minor (bars 32–50)
818:, F minor (bars 1–9) (
371:– Allegretto agitato,
356:Larghetto espressivo,
211:String Quartet No. 11
1087:Ludwig van Beethoven
926:www.historyofwar.org
820:Larghetto expressivo
751:This movement is in
407:This movement is in
246:his incidental music
223:late string quartets
207:Ludwig van Beethoven
133:Ludwig van Beethoven
40:improve this article
1004:, pp. 233–235.
623:transitional phrase
567:
403:I. Allegro con brio
967:, pp. 168–187
830:Allegretto agitato
566:
298:Allegro con brio,
1322:1811 compositions
1282:
1281:
805:sonata rondo form
677:Arnold Schoenberg
592:
591:
547:, in bars 49–50.
475:2nd tonal area, D
331:– attacca subito:
264:Nikolaus Zmeskall
204:
203:
183:Nikolaus Zmeskall
116:
115:
108:
90:
1339:
1299:
1298:
1297:
1290:
1246:
1245:
1235:
1234:
1224:
1223:
1187:
1186:
1166:No. 9 in C major
1161:No. 8 in E minor
1156:No. 7 in F major
1133:
1132:
1123:No. 5 in A major
1118:No. 4 in C minor
1113:No. 3 in D major
1108:No. 2 in G major
1103:No. 1 in F major
1076:
1069:
1062:
1053:
1017:: Scores at the
998:Wolff, Christoph
981:Solomon, Maynard
977:, pp. 1–11.
945:
940:4 February 2009
935:
929:
919:
913:
904:Seow-Chin Ong, "
902:
688:
687:
671:
670:
665:
664:
643:
642:
630:
629:
568:
546:
545:
540:
539:
534:
533:
527:major would be E
526:
525:
520:
519:
514:
513:
507:major would be B
506:
505:
500:
499:
494:
493:
488:
487:
480:
479:
470:
469:
464:
463:
444:
443:
434:
433:
393:
392:
385:
384:
383:
382:
370:
369:
368:
367:
348:
347:
346:
345:
326:
325:
324:
323:
305:
304:
282:Battle of Wagram
143:
118:
111:
104:
100:
97:
91:
89:
48:
24:
16:
1347:
1346:
1342:
1341:
1340:
1338:
1337:
1336:
1307:
1306:
1305:
1301:Classical music
1295:
1293:
1285:
1283:
1278:
1269:
1243:
1242:
1232:
1231:
1221:
1220:
1205:
1188:major, Op. 74 (
1184:
1183:
1170:
1138:
1130:
1129:
1089:
1083:String quartets
1080:
1011:
990:Vernon, David,
954:
952:Further reading
949:
948:
936:
932:
920:
916:
910:Beethoven Forum
903:
899:
894:
883:
801:
757:Maynard Solomon
749:
695:
685:
684:
668:
667:
662:
661:
658:
640:
639:
627:
626:
612:
562:
543:
542:
537:
536:
528:
523:
522:
517:
516:
508:
503:
502:
497:
496:
491:
490:
485:
484:
477:
476:
467:
466:
461:
460:
441:
440:
431:
430:
420:
405:
400:
387:
381:
376:
375:
374:
373:
372:
366:
361:
360:
359:
358:
357:
344:
339:
338:
337:
336:
335:
322:
317:
316:
315:
314:
313:
299:
291:
146:
112:
101:
95:
92:
49:
47:
37:
25:
12:
11:
5:
1345:
1343:
1335:
1334:
1329:
1324:
1319:
1309:
1308:
1304:
1303:
1280:
1279:
1274:
1271:
1270:
1268:
1267:
1262:
1254:
1249:
1247:minor, Op. 131
1238:
1236:major, Op. 130
1227:
1225:major, Op. 127
1215:
1213:
1207:
1206:
1204:
1203:
1194:
1178:
1176:
1172:
1171:
1169:
1168:
1163:
1158:
1152:
1150:
1140:
1139:
1137:
1136:
1125:
1120:
1115:
1110:
1105:
1099:
1097:
1091:
1090:
1081:
1079:
1078:
1071:
1064:
1056:
1050:
1049:
1044:, held by the
1039:
1021:
1010:
1009:External links
1007:
1006:
1005:
995:
988:
978:
968:
961:Kerman, Joseph
953:
950:
947:
946:
930:
914:
896:
895:
893:
890:
882:
879:
878:
877:
863:
857:
851:
845:
839:
833:
823:
800:
797:
796:
795:
785:
784:(bars 145–182)
779:
778:(bars 103–144)
773:
767:
748:
745:
744:
743:
737:
731:
721:
714:(bars 35–64):
709:
694:
691:
681:Style and Idea
657:
656:(bars 129–end)
651:
621:The three-bar
611:
608:Recapitulation
605:
594:
593:
590:
589:
586:
583:
579:
578:
575:
572:
561:
555:
419:
413:
404:
401:
399:
398:
377:
362:
354:
340:
332:
318:
310:
295:
290:
287:
202:
201:
198:
194:
193:
190:
186:
185:
180:
176:
175:
172:
168:
167:
164:
158:
157:
152:
148:
147:
144:
136:
135:
128:
127:
123:
122:
121:String Quartet
114:
113:
28:
26:
19:
13:
10:
9:
6:
4:
3:
2:
1344:
1333:
1330:
1328:
1325:
1323:
1320:
1318:
1315:
1314:
1312:
1302:
1292:
1288:
1277:
1272:
1266:
1263:
1261:
1259:
1255:
1253:
1250:
1248:
1239:
1237:
1228:
1226:
1217:
1216:
1214:
1212:
1211:Late quartets
1208:
1202:
1200:
1195:
1193:
1191:
1180:
1179:
1177:
1173:
1167:
1164:
1162:
1159:
1157:
1154:
1153:
1151:
1149:
1147:
1141:
1135:
1126:
1124:
1121:
1119:
1116:
1114:
1111:
1109:
1106:
1104:
1101:
1100:
1098:
1096:
1092:
1088:
1084:
1077:
1072:
1070:
1065:
1063:
1058:
1057:
1054:
1047:
1043:
1040:
1037:
1033:
1029:
1025:
1022:
1020:
1016:
1013:
1012:
1008:
1003:
999:
996:
993:
989:
986:
982:
979:
976:
972:
969:
966:
962:
959:
958:
957:
951:
943:
939:
934:
931:
927:
923:
918:
915:
911:
907:
901:
898:
891:
889:
887:
886:Gustav Mahler
880:
875:
871:
867:
864:
861:
858:
855:
852:
849:
846:
843:
840:
837:
834:
831:
827:
824:
821:
817:
814:
813:
812:
810:
806:
798:
793:
789:
786:
783:
780:
777:
774:
772:(bars 41–102)
771:
768:
765:
762:
761:
760:
758:
754:
746:
741:
738:
736:(bars 77–112)
735:
732:
729:
725:
722:
719:
718:
713:
710:
707:
704:
703:
702:
700:
692:
690:
682:
678:
673:
655:
652:
650:
648:
637:
632:
624:
619:
617:
610:(bars 82–128)
609:
606:
604:
602:
599:
596:The expected
587:
584:
581:
580:
576:
573:
570:
569:
564:
563:
559:
556:
554:
552:
548:
532:
512:
482:
472:
458:
454:
450:
448:
438:
428:
425:(bars 1–21):
424:
417:
414:
412:
410:
402:
397:
391:
380:
365:
355:
352:
343:
333:
330:
321:
311:
309:
303:
297:
296:
294:
288:
286:
284:
283:
277:
272:
269:
265:
262:dedicated to
259:
257:
256:
251:
247:
243:
239:
235:
234:Op. 18, no. 1
230:
228:
224:
220:
216:
212:
208:
199:
195:
191:
187:
184:
181:
177:
173:
169:
165:
163:
159:
156:
153:
149:
142:
137:
134:
129:
124:
119:
110:
107:
99:
88:
85:
81:
78:
74:
71:
67:
64:
60:
57: –
56:
52:
51:Find sources:
45:
41:
35:
34:
29:This article
27:
23:
18:
17:
1257:
1198:
1196:
1189:
1145:
1001:
991:
984:
974:
964:
955:
941:
933:
925:
917:
909:
900:
884:
881:Arrangements
869:
865:
859:
853:
850:(bars 65–82)
847:
841:
835:
829:
825:
819:
815:
802:
791:
787:
781:
775:
769:
763:
750:
739:
733:
723:
716:
711:
705:
698:
696:
680:
674:
659:
635:
633:
622:
620:
615:
613:
595:
560:(bars 60–81)
550:
549:
495:VI cadence (
474:
473:
457:leading tone
452:
451:
447:half cadence
422:
421:
406:
394:, F minor –
378:
363:
341:
319:
292:
279:
273:
268:George Smart
260:
253:
231:
210:
205:
102:
93:
83:
76:
69:
62:
50:
38:Please help
33:verification
30:
1241:No. 14 in C
1230:No. 13 in B
1219:No. 12 in E
1182:No. 10 in E
803:This is in
792:Più Allegro
708:(bars 1–34)
638:begins in D
558:Development
418:(bars 1–59)
409:sonata form
386:– Allegro,
1311:Categories
1258:Große Fuge
1146:Rasumovsky
1128:No. 6 in B
1048:, New York
994:pp.173-199
971:Lam, Basil
892:References
660:Begins in
453:Transition
427:Neapolitan
416:Exposition
179:Dedication
96:April 2022
66:newspapers
1260:, Op. 133
1144:Opus 59 (
1030:from the
985:Beethoven
874:Basil Lam
636:2nd theme
616:1st theme
353:– F minor
252:'s drama
197:Movements
189:Published
1244:♯
1233:♭
1222:♭
1185:♭
1131:♭
686:♭
669:♭
663:♭
641:♭
628:♭
598:dominant
577:C major
574:C minor
571:F major
544:♮
538:♭
524:♭
518:♭
504:♭
498:♭
492:♭
486:♭
478:♭
468:♭
462:♭
442:♭
432:♭
276:Napoleon
242:overture
227:movement
171:Composed
1199:Serioso
1095:Opus 18
1026:by the
870:Allegro
788:Scherzo
776:Scherzo
764:Scherzo
753:scherzo
728:tritone
699:AB | BA
631:major.
588:bar 77
582:bar 60
551:Closing
521:II in D
501:VI of D
471:major.
437:tritone
396:F major
351:C minor
329:D major
308:F minor
238:Op. 135
215:F minor
155:F minor
80:scholar
1287:Portal
1038:format
1000:, ed.
809:Mozart
717:Fugato
255:Egmont
250:Goethe
236:, and
126:No. 11
82:
75:
68:
61:
53:
1134:major
816:Intro
666:VI (D
601:pedal
481:major
87:JSTOR
73:books
1190:Harp
866:Coda
782:Trio
770:Trio
654:Coda
634:The
614:The
289:Form
280:see
248:for
200:Four
192:1816
174:1810
162:Opus
59:news
1085:by
1036:MP3
1034:in
908:",
675:As
244:to
219:Op.
213:in
209:'s
151:Key
131:by
42:by
1313::
983:,
973:,
963:,
860:A'
854:B'
842:A'
740:A'
734:B'
701:.
585:?
429:(G
411:.
327:,
306:,
229:.
217:,
166:95
1289::
1201:)
1192:)
1148:)
1075:e
1068:t
1061:v
848:C
836:B
826:A
822:)
794:)
724:|
712:B
706:A
379:8
364:4
342:4
320:4
109:)
103:(
98:)
94:(
84:·
77:·
70:·
63:·
36:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
