This exercise is about making a piano arrangement of the first 30 bars of Beethoven’s String Quartet Op. 18 No. 1. The brief specified to include some basic background information regarding the piece, which I will commence this post with.
Beethoven’s Op. 18 is consisted of six string quartets, commissioned for Prince Joseph Lobkowitz and published in 1801. In composing the quartets, Beethoven drew from the legacy of Haydn and Mozart, even copying Haydn’s Op. 20 and Mozart’s 1785 quartets, in order to understand how to write for the medium (11). I found this especially interesting – although he had studied violin in his apprentice years and had played viola in the Bonn orchestra, Beethoven was primarily a pianist who improvised and composed at the keyboard (10), and as such he had to study the genre. Along these lines, it is not surprising that he had heavily revised quartet No. 1, writing to his friend Karl Amenda: “I have greatly changed it, having just learned how to write quartets properly.” In this sense, the quartet is an important evidence of Beethoven’s growth as a musician and composer, showing his mastery over the quartet texture he had recently started exploring.
The first movement, Allegro con brio is in F major in 3/4 follows, opening with a two-bar motif that is boldy stated in unison. The motif permeates the whole movement, overlaid into Beethoven’s rather complex contrapuntal writing. The motif also introduces the organization of two-bar segments in terms of the metrical beat, with the first being strong and the second weak.
My arrangement of the first 30 bars for piano is below:
In my opinion, the first half of this segment was quite easy to arrange. I didn’t have to alter anything in terms of pitches. The articulation also remained mostly the same, except for two instances of dynamic reconsideration at bar 14 and 16 in which I could only retain diminuendo, but not the initial crescendo due to the differing nature of the instruments. While the violin could easily achieve the rising and falling dynamics of a long note in a single sustained bow by altering pressure, this is impossible on the piano due to the percussive nature of keys.Continue reading “Exercise 5.5”