Beethoven Op 18, No. 5: Part I
Movements 1 & 2: Playful & Elegant
Introduction: Drawing Inspiration from Mozart
Inspired by Mozart’s String Quartet, K. 464, Beethoven’s Op. 18, No. 5 shares many traits with its predecessor. With few exceptions, Beethoven adopts from Mozart’s quartet the same tonality, metric organisation, tempos, and architecture of movements. However, he doesn’t attempt to imitate Mozart’s style, but instead references the traditional style of quartet writing. In fact, the style often resembles Haydn’s more than Mozart’s, especially in the Minuet.
First Movement: A Playful Allegro
In the first movement, Beethoven retains the same key as Mozart—A major—and keeps the Allegro tempo marking, meaning at a fairly brisk speed. However, a significant difference lies in the metre: whilst Mozart’s piece is in 3/4, Beethoven’s is in 6/8. This gives these two movements a distinctly different feel. Whilst listening, notice how the Mozart is clearly in 3 and Beethoven’s is in 2.
Compared to the other opening movements of Op. 18, this first movement is light and exuberant. For example, in the first movement of his Op. 18, No. 1, Beethoven extensively explores contrapuntal techniques giving the movement a sense of learned seriousness. In contrast, the opening of Op. 18, No. 5 is clear, joyful, and free of drama.
An Exuberant Opening Theme
Theme Group A is playful and effervescent. It opens with motif a1, a rising 8th note (quaver) line marked by a gruppetto, or a quick turn of notes, and a sforzando, meaning to play with sudden emphasis. This melody is propelled by a rising figure in the cello.
The first violin then proposes a swirling 16th note (semi-quaver) figure, motif a2, which provokes staccato responses in the other instruments (highlighted in grey).
A Hint of Drama
The only hint of drama in the Exposition comes in the bridge when the quartet announces a new minor mode figure in unison. This stark contrast to Theme Group A introduces some tension, but it still lacks any serious dramatic weight.
Development: Beethoven’s Light Touch
Contrary to Beethoven’s other quartets, the Development of this movement is quite light and short, consisting of only 55 measures compared to the Exposition’s 80 measures. This is quite unusual for a composer who was known for his proportionally out-sized Development sections that explode with drama. Perhaps in keeping with Mozart’s spirit, Beethoven here opts for a lighter touch, free from elaborate counterpoint.
Second Movement: Minuet in Haydn’s Spirit
Following Mozart’s lead, Beethoven, for the only time in his Op. 18 quartets, replaces the slow second movement with a genteel minuet. This choice is unusual, as he often favours a raucous scherzo to a courteous minuet. In fact, only two of the six Op. 18 quartets feature a minuet. Similar to Mozart, Beethoven retains the key of A major for this movement; however, whilst Mozart moves to E major for the contrasting trio, Beethoven remains in A major throughout.
This minuet is a charming and refined dance in the style of Haydn. It opens with this polite violin duet, gracefully introducing the theme.
Instead of the typical repeat of what we've just heard, Beethoven writes out the same material as a duet between the viola and cello, with the violins providing accompaniment.
The second half of the minuet introduces a brief moment of dramatic tension, marked by a turn to the minor mode and a long crescendo, culminating in three fortissimo, or very loud, chords, followed by silence. However, it’s not too serious; the theme returns as if nothing has happened. It seems reasonable to assume that Beethoven drew inspiration from Mozart’s minuet for this idea. For comparison, take a listen to a similar passage in Mozart’s quartet, where four forte chords lead to silence.
Trio: A Rustic Country Dance
The middle section, known as the trio, takes the form of a charming ländler, a German country dance. Notice how the offbeat sforzandi, or sudden emphases, throw things off-kilter, adding a rustic contrast to the elegant minuet. This is one of Beethoven’s favourite tricks.
Conclusion
In the first two movements of Beethoven’s Op. 18, No. 5, it’s clear how he skilfully balances homage to Mozart with his own original style. Next week, we’ll dive into the final two movements of this quartet, uncovering even more about this youthful work. In the meantime, what do you think about this quartet? Share your thoughts in the comments below!