Opus 74, Quartet in E flat major for 2 violins, viola and cello
I) Poco adagio – Allegro – II) Adagio ma non troppo – III) Presto – più presto quasi prestissimo – IV) Allegretto with Variations
Opus 74 Quartet in E-flat major for two violins, viola, and cello, Op. 74, dedicated to Prince Lobkowitz, summer-autumn 1809, published in separate parts in Leipzig, Breitkopf, and Härtel, November 1810; in score, ibid., 1833. GA. no. 46 (series 6/10) – B. 74 – KH. 74 – L. III, p. 166 – N. 74 – T. 145
The original manuscript is preserved in the Deutsche Staatsbibliothek in Berlin. The sketches are found in a group of folios, described by Nottebohm, from February-October 1809 (the year of the war referred to in no. 477), containing, in addition to the unused drafts referred to in nos. 477-484, those for the introduction to the Fantasia, Op. 80, for the Piano Fantasy op. 77, for the Piano Sonatas op. 78, 79 and 81 a, and for the Piano Variations op. 76.
From the introduction to the first movement (Poco Adagio), gravely interrogative in character, a slow chromatic ascent leads to the Allegro, whose thematic impetus, while rhythmically related, is of an energetic nature — like a determined “entry into action” that abruptly interrupts an overly prolonged hesitation (one is reminded here of the finale of the String Quartet, Op. 135). This “action”, however, is neither dramatic nor passionate in tone; rather, it proceeds serenely and spiritedly, unfolding through a succession of pizzicato arpeggios into a series of peaceful cadences. From this point, the transition to the brief second theme is developed — a theme more nonchalant than thematically significant, marked by a jolting conclusion which proves to be its most original feature.
In the development, which is based on the final bars of the first theme, an episode carried out in contrary motion by the first violin and cello over the murmuring of the inner voices leads to a kind of dissolution, from which the return is initiated — once again through a succession of ascending pizzicato arpeggios in crescendo, culminating in the reaffirmation of the key and the principal theme. Although Beethoven employs similar pizzicato passages in other works (for example, in the first movement of the Piano Trio in B-flat major, Op. 97), never does he resort to them with such breadth and prominence as in this Allegro — a feature which earned the entire composition the nickname “Harp Quartet”.
Another characteristic use of this device occurs in the section following the recapitulation, where pizzicato arpeggios in the three lower instruments, beneath the motion of the first violin, unfold a whole series of passages leading to a kind of peroration (again based on the concluding bars of the first theme), followed by the full closing cadence in the tonic — with further interventions of pizzicato passages.
The second movement possesses a distinctively melancholic character: not sombre, as in other pages where Beethoven explicitly evokes such an affect (e.g., the finale of the String Quartet, Op. 18 No. 6, or the Largo of the Piano Sonata, Op. 10 No. 2), but tenderly lyrical, with a clear melodic outline and always treated with refinement in its elaboration. The themes unfold one from the other as though through a natural outpouring of the same sentiment.
The first and principal theme returns twice after its initial statement in increasingly varied and ornamented forms, and finally concludes the movement in faint fragments; a secondary theme, in the minor mode, is tinged with darker hues; while a third, episodic idea — featuring a chromatic figuration reminiscent of Tristan — is introduced only once, at the conclusion of the first varied repetition (presented first by the violin and then taken up by the cello).
The forceful entrance of the main theme in the Presto echoes, in a hurried fashion, the rhythmic pattern of the first movement of the Fifth Symphony; yet the following piano figuration, which completes the phrase, dissipates that drive into a more phantasmagorical field of imagination. Within this foundational structure, the second section introduces a pleading motif, which, however, never fully develops and is ultimately reabsorbed into the primary texture. The sombre, repeated cadential accents similarly recall the symphony (third movement).
Likewise, the striking diversion into the major-mode Trio (Più presto, quasi prestissimo) assumes here a more violent — one might almost say brutal — character of opposition. The Presto and Trio are repeated, followed once more by the Presto, which concludes piano with a figuration that seems like its own ghost — once again evoking the Symphony — and is prolonged in a murmur whose shifting harmonies render it all the more mysterious.
From here, without interruption, we enter — via the final modulation into E-flat major — the Finale (Allegretto), a kind of release into lightness, where the craftsmanship of the composer arguably takes precedence over the poet’s imagination. The simple theme is presented in six faithful variations (of technical and instrumental interest, despite their brevity); the overall impression is that of a cordial, good-natured farewell after the romantic outpouring of the previous two movements — and perhaps more in keeping with the serenity of the opening Allegro. Schering connects this Quartet to Shakespeare’s Romeo and Juliet.
First movement: Act II, Scene I – A nocturnal impression in the Capulet garden. Romeo at Juliet’s window. Dialogue and declaration of love. Romeo departs.
Second movement: Act III, Scene III – The balcony scene. The lovers converse. Romeo’s farewell.
Third movement: Continuation of the previous scene. The furious Capulet enters. He reproaches Juliet. Her plea. The loquacious Nurse.
Fourth movement: Act V, Scene V – In the cemetery. Paris and Romeo at Juliet’s tomb. Duel. Romeo resolves to take his own life. His death.
[By Biamonti Giovanni – Catalogo cronologico e tematico delle opere di Beethoven comprese quelle inedite e gli abbozzi non utilizzati, Torino, ILTE 1968]
Official title: Opus 74 Quartett (Es-dur) für zwei Violinen, Viola und Violoncello Widmung: Franz Joseph Maximilian Fürst Lobkowitz NGA VI/4 AGA 46 = Serie 6/10 Beiname: Harfenquartett (wohl wegen der Pizzicato-Arpeggier im ersten Satz)
Origin and Publication: Beethoven dated the autograph manuscript “1809”. The sketches were produced in August and September in Vienna. The work was likely performed for the first time in November. The original editions were published by Clementi & Co. in London in September 1810, by Breitkopf & Härtel in Leipzig around November, and by Artaria in Vienna in December. Clemens Brenneis’s examination of the sketches clarifies that, even in the earliest surviving annotations of Op. 74, Beethoven had already reached the middle of the exposition of the first movement in a functional score. Numerous other sketches show that Beethoven — as he states in a letter to Breitkopf & Härtel dated 19 September 1809 (BGA 400) — intended to compose something more than a mere quartet.
The works from Opus 73 through to Opus 78, as well as Opus 82 and WoO 136, 137, and 139, were part of an agreement between Beethoven and Muzio Clementi (probably during Clementi’s stay in Vienna from 1808 to 1810) with the aim of publishing them simultaneously as original editions in both London and Leipzig.
Beethoven had already announced new quartets to the Leipzig publishers in September 1809 (BGA 400), of which he completed only one and offered it to them on 4 February 1810. Muzio Clementi had the opportunity to hear the work in March 1810 (see First performance). The engraving copy reached Leipzig in mid-July (BGA 452), but Breitkopf & Härtel were unable to meet Beethoven’s requested publication date of 1 September. Clementi, on the other hand, published the work punctually on 1 September at Stationers’ Hall, albeit under an arbitrarily chosen opus number (Opus 62, which was later assigned to Coriolan). Only the Leipzig edition bears the dedication to Prince Lobkowitz.
Beethoven conveyed this and other instructions and corrections for the edition in a letter to Breitkopf & Härtel dated 21 August 1810: „Es war mir unmöglich ihnen darüber eher zu schreiben von Dedikationen: wären folgende das Violin Quartett an Fürst Lobkowitz, wozu sie seine unmusikalischen Titulaturen bey einem ändern Werke nachsehen können […] bey dem Violin Quartett erinnere ich sie, daß das Umwenden bequem eingerichtet werde, dann sezen sie zu der Überschrift des zweiten Stücks noch: adagio ma non troppo – beym dritten Stück aus c moll 3Atel Takt nach dem dur piü presto quasi prestissimo wo hernach wieder das moll einfällt das erstemal wird der erste Theil zweimal, wie es auch vorgeschrieben gespielt, hingegen steht da. daß der zweite Theil widerholt werden soll, dies widerholungszeichen wird aus gelöscht, damit man den zweiten Theil nur einmal spiele“ (BGA 465).
The publisher agreed to carry out the corrections: „Bei dem Stich des Quartetts, des Oratoriums [Op. 85] u. der Musik von Egmont [Op. 84] werde ich die mitgeteilten Berichtigungen beachten lassen. Von dem Quartett ist schon mehreres angedruckt, so daß ich manches in den Exempl. ändern lassen oder manche Bogen kassieren muß.“ (BGA 469, 24 September 1810).
Nevertheless, Beethoven remained concerned as to whether the change in the Presto would be properly carried out, and in October he asked: „sorgen sie ja und gehn sie doch ein, weswegen ich sie oft gebeten, schiken sie ein probe exemplar, aber auch die Manuskripte, man klagt über die Unrichtigkeit des Stichs, und ich habe bemerkt, daß auch die klärste schrift gemißdeutet wird“ (BGA 474).
All corrections were duly incorporated into the Leipzig edition.
The Breitkopf & Härtel edition of Op. 74 was published together with Opp. 75–79 in December 1810. For the dedication, see Op. 18.
The first performance likely took place in a private circle with Prince Lobkowitz in Vienna in November 1809 (BGA 411). According to a declaration by Countess Erdödy, a performance of “ein damals ganz neuen Quartett von Herrn van Beethoven” took place in her house in Vienna on 31 March 1810. Among the guests at this concert was Muzio Clementi, the English publisher of the work (Haupt Erdödy, p. 79).
The sketches will be featured in an article specially created for the Beethovenian Music Research Center, www.lvbeethoven.org
