Quartet in F minor, Op. 95 “Serioso”
The years of 1808-1810 were extremely difficult for Beethoven as he was in the midst of dealing with his deafness, poor health, financial issues and problematic personal relationships. Still, this period of his life was profoundly important, as he produced several revolutionary works, including the Fifth and Sixth Symphonies and the Op.74 “Harp” string quartet.
The quartet in F minor, Op. 95, was written in one month in 1810. It is recognized as the last of Beethoven’s “middle period” string quartets, and set the stage for his revolutionary journey into his late works. When Beethoven had completed the Op.95 quartet, he knew it was unlike anything that had come before it, and was somewhat skeptical about the public’s willingness to accept it into the popular literature. Perhaps feeling a bit protective, he issued this comment to a close friend: “This quartet is meant for a small circle of connoisseurs and should never be publicly performed.” We are fortunate that his wishes were not heeded!
The “serioso” character of this piece is heard at the very beginning of the first movement, as all four members of the quartet play a driving five-note motive in unison. This opening motive fuels the movement throughout, playing both the roll of primary theme and accompanying voice. The sonata form first movement is highly compressed, as Beethoven eliminates the traditional exposition repeat, creating a sense of an erratic and unpredictable texture. Also, Beethoven alters the length of the phrases so the listener’s expectation for the predictable classical era symmetry in the music is never fulfilled. The more melancholy second theme is introduced first by the viola, and is then carried by the cello and violins. The brief second theme statement is interrupted by the rolling sixteenth note motive of the opening theme before transitioning to the concise development. The thrilling coda is built on the terse five-note motive of the opening, and propels the movement to its abrupt close.
The second movement offers some of Beethoven’s most intimate and beautiful writing, and gives us momentary peace following the emotional torrent of the unrelenting first movement. The movement begins with a gently descending line in the cello that is expounded upon by the first violin. Unexpected bell-like chords, traded between various instruments and heard throughout the movement, pepper the texture. The viola introduces a fugal subject that is passed around the quartet before the ruminations of the opening cello line return. What follows is a brilliant double fugue, intricately woven together to create one of the great moments in the string quartet literature.
Like the first movement, the third movement scherzo is serious and dramatic in character. An ominous dotted rhythm theme is shared by all four instruments, galloping at a feverish pace toward the first of two wondrous trios. The trio sections are carried by hymn-like music in the lower three instruments as the first violin flutters above, as if ruminating about the impending return of the turbulent scherzo. Beethoven increases the tempo and the emotional fervor in the coda, sending the movement to its brusque end.
The Larghetto espressivo opening of the last movement features an augmented version of the third movement scherzo melody, sounding at first as if the entire movement will be introspective. The depth of the opening gives way to a fanciful rondo, marked Allegretto agitato, whose music is anxious and again unpredictable. Following his trend of unpredictability, Beethoven closes the “serioso” quartet with a surprisingly brilliant and optimistic coda.
(notes by Kurt Baldwin)