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as having a copy of the A-minor quartet on the gramophone: 'I find it quite inexhaustible to study. There is a sort of heavenly or at least more than human gaiety about some of his later things which one imagines might come to oneself as the fruit of reconciliation and relief after immense suffering;
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of the scale.” Daniel Chua (1995, p. 113) points out that this creates “rhythmic ambivalence”, especially when the two motives combine in bar 5: “In this way, as the two patterns interlock a gentle tension is induced by the differing rhythmic currents and admits the possibility of two
451:, the actual song. In the three instances of the slow section, the overlapping motives become increasingly complex rhythmically, while the chorale is pared down, and the two elements become increasingly integrated. There is a characteristic intensification of the
297:, and the second rotation could be interpreted as a simulation of the expositional repeat seen in many classical sonata form expositions, with the added interest of transposition. Conversely, other analysts have interpreted the second rotation as the onset of the
301:
or as a "double recapitulation effect" rather than as an expositional repeat, with
Hepokoski and Darcy describing it as a "tonally 'wrong' recapitulatory rotation followed by a notably varied, 'right' one in the tonic". and
458:
Beethoven wrote this piece after recovering from a serious intestinal illness which he had feared would be fatal because it afflicted him for the entire winter of 1824–5. He thus headed the third movement with the words,
320:
symphonies as precedents. For Rosen, the exposition comprises the A minor and F major sections; the brief developmental episode is a true development; and the middle section that directly transposes the exposition is a
447:" ("feeling new strength"), in D. The slow sections each have two elements, (1) a passage reminiscent of the opening of the first movement in which the instruments overlap each other with a brief motive; (2) a
274:
episode – is almost a direct transposition that begins in E minor (m. 103) and moves similarly down a third to C major. The final abbreviated rotation (m. 193) remains in the tonic throughout, followed by a
599:
911:
423:(also in A major) an A pedal note (first on the first violin and then on the other instruments) that creates a sound atmosphere reminiscent of old or popular music played on
179:, as were Opp. 127 and 130. The number traditionally assigned to it is based on the order of its publication; it is actually the thirteenth quartet in order of composition.
325:
development (in the dominant and mediant keys, on the sharp side of the tonic) while acting thematically as a recapitulation. This allows the final section to act as a
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362:
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312:, on the other hand, considered this structure to be governed, as all of Beethoven's works, by the principle of sonata resolution, pointing to Haydn's
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reported about the premiere to his uncle: "The quartet received a lot of applause, it went very well together and Linke played better than ever".
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At about 15 to 20 minutes in duration, the third movement is the longest of the quartet. Formally described, it alternates slow sections in a
559:
makes extended reference and description of this quartet in the late chapter concerning the death/suicide of the character
Maurice Spandrell.
411:(1965, p. 114) says that the three-note gesture shares with the opening of the first movement “the unusual feature of beginning on the
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has argued that the quartet represents the "psychology of pain and illness" as it was written after
Beethoven had recovered from a painful
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Noorduin, Marten (2023). "Transcending
Slowness in Beethoven's Late Style." In Cooper, Barry, and Matthew Pilcher (eds.).
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plan, in contrast to the usual sonata form which only cycles fully through this material twice (for the exposition and
495:(A B A C A B A). Beethoven's sketches show that this theme was originally meant for an instrumental conclusion to the
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The Takacs
Quartet on Beethoven's Message to God - Live recording of the 3rd movement of the String Quartet No. 15
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737:, hrsg. von Karl-Heinz Köhler, Grita Herre, Dagmar Beck, u. a., 11 Bände, Leipzig 1968–2001, Band 7, S. 182
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198:"Heiliger Dankgesang eines Genesenen an die Gottheit, in der Lydischen Tonart". Molto adagio – Andante (F
52:
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with its melodies over sustained tonic (here, A) tones. It partly reuses
Beethoven's Allemande WoO 81.
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referring, albeit with reservations, to an "E-minor recapitulation" and an "A-minor recapitulation".
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recapitulation (as it remains in the tonic throughout), while incorporating thematic development.
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The movement's unusual structure has invited a variety of analytical interpretations. Composer
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on the third movement of
Beethoven's String Quartet Op. 132, followed by a performance by the
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Elements of Sonata Theory: Norms, Types and
Deformations in the Late Eighteenth-Century Sonata
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600:"SESSIONS: String Quintet / String Quartet No. 1 / Canons (to the memory of Igor Stravinsky)"
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715:"Ludwig van Beethoven String Quartet No.15 in A minor, Op.132 - 2. Allegro ma non tanto"
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748:"Beethoven for pandemic times: How Opus 132 is journey through illness and healing"
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with repeated trio that
Beethoven used most often in his works starting with his
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499:, but was abandoned for the now famous choral ending. The movement ends with a
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Opening of the second movement of
Beethoven's String Quartet in A-Minor Op. 132
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267:
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The first expositional rotation begins in the tonic and moves down a third to
240:
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Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart
270:(F major) for the second key area (m. 48), while the second – following a
838:
424:
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797:. Manchester: Manchester University Press. p. 224. eISBN 9781526155696.
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reflections on his own work, as inspired by listening to this quartet.
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342:
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64:
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From Sickness to Health: Narrative in Beethoven's Heiliger Dankgesang
463:" ("Holy song of thanksgiving of a convalescent to the Deity, in the
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Princeton, New Jersey: Princeton University Press, 1958. Paperback.
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I should like to get something of that into verse before I die.'
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describes the form as more of a triple exposition than a normal
893:
475:
This brief (2-minute) march in A major leads directly into the
255:
primary and secondary thematic material, each with a different
851:
171:, given its public premiere on November 6 of that year by the
397:
variation (outlining a descending fifth) in mixed rhythm.
365:), Beethoven exposes the fourth in a three-note gesture (G
1114:
String quartet arrangement of Op. 14, No. 1 by Beethoven
802:
The Musical Experience of Composer, Performer, Listener.
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Project Gutenberg – Score and MIDI of this piece
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The performance of the work takes around 45 minutes.
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that recurs throughout the late quartets and in the
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654:(2nd ed.). W. W. Norton and Company. p.
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834:Composers's Datebook Entry on the Work's Premiere
393:below. In m. 5, this motive is combined with an
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205:Alla marcia, assai vivace (attacca) (A major)
8:
620:. New York: Oxford University Press, p. 280.
541:; certainly he was recorded in a letter to
251:which involves three full rotations of the
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616:Hepokoski, James and Warren Darcy. (2006)
45:
18:
885:International Music Score Library Project
682:. London, Hutchinson University Library.
416:contradictory metrical interpretations.”
225:to the first movement, like that of the
208:Allegro appassionato (A minor – A major)
1155:String quartets by Ludwig van Beethoven
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844:Performance by the Orion String Quartet
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187:The five movements of the quartet are:
16:String quartet by Ludwig van Beethoven
812:. Edinburgh: Candle Row Press, 2023.
772:Mitchell, Katie (November 18, 2005).
7:
693:The "Galitzin" Quartets of Beethoven
633:. New York: Alfred A. Knopf, p. 247.
51:Portrait of Ludwig van Beethoven by
377:) four times, with the violins and
192:Assai sostenuto – Allegro (A minor)
14:
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581:Late String Quartets (Beethoven)
455:toward the end of the movement.
357:
247:. The movement is in a modified
848:Isabella Stewart Gardner Museum
810:Beethoven: The String Quartets
419:The trio adds to parts of his
195:Allegro ma non tanto (A major)
1:
695:. Princeton university Press.
471:IV. Alla marcia, assai vivace
102:
1013:Other middle period quartets
795:Manchester Beethoven Studies
531:Some credit this quartet as
217:I. Assai sostenuto – Allegro
1035:No. 11 in F minor, Op. 95 (
680:Beethoven's String Quartets
435:III. Molto adagio – Andante
341:with trio, rather than the
175:and was dedicated to Count
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1103:No. 16 in F major, Op. 135
1090:No. 15 in A minor, Op. 132
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443:F with faster sections, "
337:The second movement is a
128:6 November 1825
44:
31:
26:
535:'s impetus to write the
356:To begin this movement (
333:II. Allegro ma non tanto
1165:Compositions in A minor
629:Kerman, Joseph. (1967)
487:V. Allegro appassionato
229:quartet, is based on a
1170:Music with dedications
733:Ludwig van Beethoven,
631:The Beethoven Quartets
405:
881:String Quartet No. 15
678:Radcliffe, P. (1965)
403:
349:. The trio evokes a
279:(m. 232) featuring a
153:String Quartet No. 15
53:Johann Stephan Decker
925:Ludwig van Beethoven
871:NPR - In Performance
866:St. Lawrence Quartet
774:"A meeting of minds"
245:harmonic minor scale
239:as well: the second
173:Schuppanzigh Quartet
165:Ludwig van Beethoven
144:Schuppanzigh Quartet
38:Ludwig van Beethoven
552:Point Counter Point
511:Beethoven’s nephew
491:The movement is in
33:Late string quartet
735:Konversationshefte
691:Chua, D. (1995),
521:bowel inflammation
513:Karl van Beethoven
479:-finale through a
445:Neue Kraft fĂĽhlend
406:
1160:1825 compositions
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800:Sessions, Roger.
752:Los Angeles Times
493:sonata rondo form
167:, was written in
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1004:No. 9 in C major
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956:No. 4 in C minor
951:No. 3 in D major
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223:introduction
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1079:No. 14 in C
1068:No. 13 in B
1057:No. 12 in E
1020:No. 10 in E
563:2021 novel
533:T. S. Eliot
465:Lydian mode
295:sonata form
284:pedal point
249:sonata form
1149:Categories
1096:GroĂźe Fuge
984:Rasumovsky
966:No. 6 in B
758:2022-08-08
587:References
481:recitative
453:head-motif
241:tetrachord
236:GroĂźe Fuge
227:thirteenth
140:Performers
132:1825-11-06
89:Dedication
1098:, Op. 133
982:Opus 59 (
846:from the
527:Influence
517:Mark Swed
507:Reception
221:The slow
112:Movements
1082:♯
1071:♭
1060:♭
1023:♭
969:♭
708:and the
646:(1988).
575:See also
567:depicts
425:bagpipes
395:inverted
385:and the
374:♯
368:♯
327:harmonic
323:harmonic
281:dominant
163:132, by
120:Premiere
99:Duration
81:Composed
1037:Serioso
933:Opus 18
720:YouTube
449:chorale
351:musette
343:scherzo
243:of the
157:A minor
130: (
65:A minor
1125:Portal
854:format
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391:octave
383:unison
363:Listen
339:minuet
200:Lydian
55:, 1824
27:No. 15
972:major
477:rondo
441:modal
387:cello
379:viola
257:tonal
231:motif
183:Music
1028:Harp
814:ISBN
660:ISBN
501:coda
467:").
371:–A–C
318:89th
316:and
314:75th
277:coda
169:1825
151:The
125:Date
115:Five
84:1825
72:Opus
923:by
852:MP3
850:in
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