This guide follows Beethoven’s String Quartet No. 15 in A minor, Op. 132 (1825) in five parts: Assai sostenuto – Allegro (sonata form), Allegro ma non tanto (minuet and trio), Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart. Molto adagio – Andante (theme and variations), Alla marcia, assai vivace and Allegro appassionato (sonata form).
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Follow all 31 sections as they play
, then , in A minor. The slow begins in the cello with a built on two pairs of semitones (G-sharp to A, E to F). Others echo it, and rapid semiquavers from the first violin break it off. The first , which follows the , carries one of these semitone pairs in a dotted rhythm that drives the . The material is run through three times with different plans, so analysts disagree about the : opening ideas at two points, both marked , and then the starts.
Section boundaries in music are not always sharp; a transition may be felt over a pause or a held chord.
BeethovenString Quartet No. 1 in F major, Op. 18 No. 1BeethovenString Quartet No. 2 in G major, Op. 18 No. 2BeethovenString Quartet No. 3 in D major, Op. 18 No. 3BeethovenString Quartet No. 5 in A major, Op. 18 No. 5BeethovenString Quartet No. 4 in C minor, Op. 18 No. 4BeethovenString Quartet No. 6 in B-flat major, Op. 18 No. 6BeethovenString Quartet No. 7 in F major, Op. 59 No. 1BeethovenString Quartet No. 8 in E minor, Op. 59 No. 2BeethovenString Quartet No. 9 in C major, Op. 59 No. 3BeethovenString Quartet No. 10 in E-flat major, Op. 74
BachTrio Sonata No. 1 in E-flat major, BWV 525
HaydnSymphony No. 1 in D major, Hob. I:1HaydnHorn Concerto in D major, Hob. VIId:3HaydnPiano Sonata in A-flat major, Hob. XVI:46HaydnPiano Sonata in C minor, Hob. XVI:20HaydnString Quartet in A major, Op. 20 No. 6HaydnString Quartet in C major, Op. 20 No. 2HaydnString Quartet in D major, Op. 20 No. 4HaydnString Quartet in E-flat major, Op. 20 No. 1HaydnString Quartet in F minor, Op. 20 No. 5Path 05
Four players across almost two centuries: Haydn shapes the conversation, Bartók breaks it open, Shostakovich turns it inward.
Haydn → Mozart → Schubert → Beethoven → Dvořák → Debussy → Reger → Bartók → Shostakovich
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