Beethoven Op 18, No. 5: Part II
Movement 3: Transformations
Introduction: A Study in Contrasts
For the third movement, Beethoven, like Mozart in his K. 464, opts for a slow Theme and Variations. Here, the composer showcases his remarkable ability to transform a simple melody into a rich tapestry of contrasting variations. It unfolds with an opening theme that is rhythmically and melodically straightforward, yet it serves as a foundation for a diverse range of transformations. As Beethoven navigates through each variation, he skilfully juxtaposes stillness with exuberance, lightness with tension, and simplicity with complexity. This movement not only highlights Beethoven's innovative compositional techniques but also invites listeners to engage with the evolution of a singular theme through a captivating musical journey.
A Delicate Theme
Beethoven opens his Theme and Variations movement with a melody that is rhythmically and melodically simple, in fact, it could hardly be less simple. There are a few motifs that add interest to this banal theme. First, the commentary of the viola between bars 2 and 3 adds a conversational aspect. And at the end of the melody, the dotted rhythm in the violins (motif b), along with the gruppetto (motif c), a quick turn of notes, adds some interest. These motifs will come back in subsequent variations. The overall feeling of this opening is one of peace and simplicity.
Variation I: From Stillness to Exuberance
After such a static theme, Beethoven contrasts with a variation that significantly deforms the original material. The dotted rhythm of motif b opens the melody, whilst the gruppetto of motif c injects exuberance. The cello's bouncing melody is successively taken up by the other instruments, with each entrance becoming increasingly tight. This leads to a crescendo that culminates in one of Beethoven’s favourite techniques: off-beat sforzandos, or sudden emphases at unexpected moments.
This variation is quite original, diverging from the tradition of first variations that are closely related to the theme and merely ornamental in nature. Here, the theme is not easily recognisable. After such a docile theme, this variation feels refreshing. Interestingly, Beethoven borrows a key characteristic from Mozart’s Theme and Variations movement by shifting to the minor mode at the beginning of the second half.
Variation II: Ornamental Charm
This variation serves as the true “ornamental” variation we would expect to follow the theme. The wandering triplet figure in the violin closely adheres to the contours of the original theme, providing a delicate embellishment. Its simple charm and effortless flow create a sense of lightness that might have been overlooked had it followed the docile theme. By contrasting the theme with a buoyant first variation and then following that with a gentle yet agile second variation, Beethoven demonstrates his skill in captivating the listener.
Variation III: Bucolic Reflections
In this variation, Beethoven mirrors Mozart’s second variation by employing motif a from the original theme to create a bucolic, lilting rhythmic motor in the violins. And just like Mozart’s third variation, the theme is fragmented into disparate parts in the viola and cello, adding a distinct texture to this movement.
Variation IV: Stillness & Unease
In this variation, Beethoven presents a striking contrast by bringing the theme back to a more or less original state. However, it carries an air of stillness and unease. Here, Beethoven reharmonises the original theme, enhancing its sense of tension and creating an effect that is almost mystical.
Variation V: An Ecstatic Revelry
Suddenly, the fifth variation announces itself in the most delightfully absurd way. It’s loud, raucous, and evokes the spirit of circus music. The theme, now transformed into a rowdy celebration, is easily recognisable in the second violin and viola, whilst the cello bounces around with off-beat sforzandos, and the first violin shrieks with strident trills, a quick fluttering between two notes.
Beethoven has a knack for juxtaposing the mystic, as in the previous variation, with the ridiculous and vulgar, and here the effect is both convincing, thrilling, and ecstatic.
Coda: A Harmonic Surprise & Playful Dialogue
After the ecstasy of the previous variation, Beethoven surprises us again with a sudden change of key, shifting from D major to B-flat—a distant key. Although this shift is harmonic, it evokes Mozart’s sudden rhythmic change in his sixth variation. Listen to Mozart’s surprising shift from his Theme and Variations movement.
In Beethoven’s Coda, he mirrors Mozart’s rhythmic shift whilst adding an unexpected harmonic change. The original theme appears in the second violin, accompanied by a countersubject in contrary motion from the viola. This interplay continues throughout much of the coda, with voices exchanging in a playful dialogue. Following a Beethovenian cadence marked by forte proclamations, the original theme returns in its most stripped-down form. The movement then concludes with a beautiful pianissimo, just as Mozart’s did.
Conclusion
This exceptional example of Beethoven's early exploration in the theme and variations format showcases his skilful manipulation of a simple theme through a series of contrasting transformations. Each variation not only contrasts in spirit—oscillating between stillness and movement—but also in dynamics, shifting from piano to forte. This interplay of contrasts highlights Beethoven's innovative approach and sets the stage for the exuberant final movement.
Next, we’ll dive into the exciting finale of this quartet. In the meantime, what’s your favourite part of this Theme and Variations? We’d love to hear your thoughts in the comments below!
Friday 15 November 2024
19:30
Paris 7th
Wolfgang Amadeus Mozart
String Quartet in A major, K. 464
Ludwig van Beethoven
String Quartet in A major, Op. 18, No. 5
Marie Salvat & Juliette Leroux violins
Kyle Collins viola
Marie-Thérèse Grisenti cello