String Quartet Part 2: Mozart to Britten

Last week we talked about the development of the string quartet, a Classical era genre of music that involves two violins, a viola, and a cello. (Click here for that post.) Since “Father of the String Quartet” Joseph Haydn (1732-1809) established the quartet as a legit ensemble, many composers have continued to develop the genre. Let’s explore some more string quartets.

Wolfgang Amadeus Mozart (1756-1791)

Mozart and Haydn are some of the most well-known composers of the Classical era. And not only were they great musicians, but they were also friends! Haydn certainly influenced Mozart’s own music, as the younger composer dedicated his Op. 10 – a set of six string quartets – to Haydn. 

String Quartet No. 19, Op. 10 No. 6

Mozart’s “Dissonance” quartet was quite forward thinking for the time (it was composed in 1785). The work opens with a slow introduction of foreboding repeated Cs in the cello. The viola enters with an A♭ before moving to a G, the second violin joins with an E♭, and the first violin completes the sound on an A natural. However, this opening does not solidify the harmonic structure for the piece; the dissonance between the individual notes and the juxtaposition of the introduction against the cheerful C major in the rest of the first movement lends to the “Dissonance” nickname.

The second movement is warm and lyrical, while the third movement combines sudden dynamic contrasts with counterpoint to create a light mood. The last movement is full of drama, transitioning between major and minor fragments of the theme.

Dmitri Shostakovich (1906-1975)

Throughout his life, the 20th-century Russian composer wrote 15 string quartets. And like much of his music, Shostakovich‘s string quartets were heavily influenced by the ideology of the communist Soviet government that ruled at the time. The Soviet Union often limited intellectual and creative freedom. Anytime the composer published anything that seemed to represent the realities of living under the strict communist regime, the composer got in serious trouble.

String Quartet No. 8, Op. 110

String Quartet No. 8 in C minor is perhaps the most well-known of Shostakovich’s quartets. He composed it in 1960, and it was the only work of substance Shostakovich wrote outside of Russia (he was visiting East Germany at the time). The dedication by the composer reads: “In Remembrance of the Victims of Fascism and War” in response to his time at Dresden.

However, many believe this quartet is a reflection of Shostakovich’s beliefs against communism and the Soviet government. Read here for more.

And certainly, the work is full of solemnity and anguish. The first movement opens with a cello solo joined slowly by the viola and violins. The result is an extremely uncertain introduction full of dissonance (similar to Mozart’s Op. 19 No. 6, perhaps?).  Violent energy explodes during the second movement, leading to a calmer third movement. The fourth and fifth movements incorporate dissonance, counterpoint, and emotion to conclude the work.

*Fun fact: In this string quartet, Shostakovich quotes themes from his First, Fifth, Tenth and Eleventh Symphonies, his Piano Trio in E Minor, the Cello Concerto No. 1, his opera Lady Macbeth of the Mtsensk District, as well as themes from several Russian songs.

Maurice Ravel (1875-1937)

Known as one of France’s greatest composers of the 20th century, Ravel only wrote one string quartet. He dedicated the work to his composition teacher Gabriel Fauré, who (sadly) didn’t think very highly of the composition.

String Quartet in F Major

String Quartet in F Major succinctly showcases Ravel’s compositional style. Composed in 1902-03, the work combines fluid (yet lyrical) melodies with changing tempos and lots of instrumental color. The first movement works two contrasting themes with quiet intensity. The pizzicato in the second movement was influenced by the sounds of the Javanese gamelan, and the third movement utilizes many tempo changes to showcase lyrical virtuosity. The work ends with an energetic burst that combines strange time signatures, rapid tremolos, and assertive arpeggios.

Pyotr Tchaikovsky (1840-1893)

This Romantic era composer only wrote three string quartets in his lifetime. But even though Tchaikovsky‘s first string quartet wasn’t written until 1871, it is believed he started writing a string quartet in 1865. The completed first movement wasn’t published until 1940.

String Quartet No. 1, Op. 11

At the time (1871), Tchaikovsky was teaching at the Moscow Conservatory and not making much money. So he decided to organize a concert of his recent compositions. He wrote this string quartet for the occasion.

The first movement has two themes, each song-like and beautiful. The famous second movement is based on a folk song; as the story goes, Tchaikovsky heard the melody whistled by a carpenter while he was visiting his sister. (Tchaikovsky later orchestrated this movement for cello and orchestra. Check that out here.) The third movement combines dance rhythms with harmonic tension, and the final movement finishes with a dance between its two themes.

Benjamin Britten (1913-1976)

The final string quartet for this post was written by English composer Benjamin Britten. He only wrote three during his life – the first in 1941 and the second in 1945. Britten was primarily a vocal composer, but in 1975 when the Amadeus Quartet asked him to write a piece for their ensemble, he agreed and wrote his third string quartet.

String Quartet No. 3, Op. 94

Britten’s String Quartet No. 3 in G Major, Op. 94 is one of the last pieces he ever wrote, and it’s stunning. The work tells a story throughout each movement, capturing fleeting, wild, and delicate sounds all at once.

The first movement, “Duets”, explores various pairings of the four string voices. Changes in rhythmic patterns result in beautiful and interesting sounds. The movement ends with a conversation between the main theme and a soft, otherworldly chord. The second movement, entitled “Ostinato”, is crammed full of manic energy portrayed by a rising and jagged motif. An occasional and disconcerting silence interrupts the music. “Solo” is quite empty compared to the previous movements, as the theme is carried by a violin accompanied mostly by one other voice. The fourth movement (appropriately entitled “Burlesque”) uses strange, off-balance rhythms with dissonance to create an atmosphere of violent humor. The final movement is entitled “La Serenissima”, and it draws inspiration from chiming bells in Venice.

Stay tuned for the third post in this series, which will discuss even more amazing string quartets!