In this post I will list the string quartets I’ve listened to, including Classical, Romantic, as well as modern and contemporary string quartets. All the compositions I’ve listened to are linked to my post for Research Point 5.2 here.
Classical string quartets
Franz Xaver Richter – Six String Quartets Op. 5 (c.1756)
This is the earliest set of string quartets I could find. Interestingly, I found that Richter comes from the school of Mannheim composers, who led a change of musical style in Europe and influenced the Classical style developed in Vienna. I realized that I actually didn’t know anything about the Mannheim school and so this seems to be an area of music history that I’d like to update in the future, especially since I found multiple contributions and innovations by these composers. At any rate, all six quartets are in three movements, contrasting the later four-movement structure of the genre. Although quite polyphonic, Op. 5 quartets clearly follow the melodic-harmonic idioms of the Classic period. For example, in the finales of quartets No. 1 and 2, the fugal episodes are embedded within a sonata structure. In terms of instrumentation, I think there is a variety of writing for all four string instruments with each given concerto-like passages, though there are also moments of duets in the sharing of the melodic material. However, I was really surprised to see in the score that the role of cello and viola were at times reversed. In these moments, in a peculiar way, cello acts as a solo instrument in the tenor register, while viola provides a bass line. Regardless, I found the outer, more spirited movements very invigorating, while the slower movements sound more like operatic arias. Although these aren’t considered as masterpieces, I believe Richter’s quartets hold a historical importance, which show the musical foundations from which Haydn and Mozart built their own string quartets on, but nonetheless, I also find them well-written and interesting in their own right. Since I haven’t previously researched into the Mannheim school, looking at the score, I am aware that I was unable to really distinguish more specific stylistic cues in relation to the Viennese School. As such, I’d like to carry out some future investigations in this area in order to move towards considering the Classical era with more specificity, rather than maintain this generic perspective I have on the epoch.Continue reading “String Quartets”