Ludwig Van Beethoven Was Born Term Paper

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As a result, Adagio ma non-troppo feels calmer and more relaxing, and imparts a soft, almost tranquil aura on the listener with the occasional moment of tension around the six-minute mark of the seven and a half-minute movement, when long pauses in the music are introduced. In fact, the last minute and a half of the second movement of the String Quartet develops a different theme from the beginning of that movement. During the first few minutes of the second movement the cello is absent, and around the four-minute mark of the movement, the higher stringed instruments solo once more. The last minute an a half serve as an overall resolution to the piece, but do not significantly alter its general monothematic feeling. Some staccato strings indicate a definite ending to the movement.

The third movement of the String Quartet (Scherzo: Allegro), incorporates counterpoint and is the piece's most dramatic movement. Just like the first movement, this allegro piece undergoes several thematic changes. After the first two and a half minutes, the movement becomes frenetic, with the violin serving as the primary carrier of the melody. However, the contrapuntal energy of this third movement is remarkable and complex. This movement acts as the overall climax of the entire string quartet; some moments are melodically complex enough to almost seem orchestral. At the end of the movement, the counterpoint fades as all the instruments take turns playing the same melody line. This serves to unify all the themes of the segment.

The fourth and final movement of Beethoven's String Quartet Opus 18/6 is intensely slow, beginning as a largo piece and is almost dirge-like. The viola opens the movement, followed by the violins and at 1:21, the cello enters. When it does it seems
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sinister, evocative of silent horror films. At about 2:50 the movement grows more intense, dramatic, and even sad in tone. At about four minutes, the cello and violin exchange words as if in conversation with one another. At 4:28, the theme of the movement shifts as the composer incorporates contrapuntal elements and conveys a more upbeat and lively tone. All the instruments combine to impart the melody; no one instrument rises to the fore at the middle of the movement. Remarkably, Beethoven includes elements of dance forms into this, the longest of all the four movements of the string quartet. The movement reaches a crescendo at around the seven-minute mark; th4e cello cuts out for an entire minute afterwards. Slowly the piece evolves until the last minute and a half, when a dance feeling creeps in once more, allowing the violin to carry the melody. Some counterpoint returns as well, and a brief code-like ending finishes the 10-minute plus segment, ending the String Quartet Opus 18/6 on a delightful, satisfying note.

Listening Chart for Beethoven's String Quartet Opus 18/6: First Movement (Allegro con Brio Sonata Form)

0:00 Theme 1: Introductory, one violin is constant and in the background. Cello and violin trade melodies; cheerful feel.

0:48 Theme 2, after a crescendo and transition. Softer feel, different melody.

1:30 Theme 1 lead violin and cello play the same melody line back and forth as if conversing with one another or imitating one another.

2:25 Theme 2 is softer, the cello cuts out for a while to leave only violins and viola

2:55 Theme 2 continues but cello enters; theme grows anxious in tone. The two themes interweave or create a third theme.

4:45 Theme 1

5:15 Theme 2…

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Ludwig van Beethoven Information."

String Quartet Information."

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