ฝัง
- เผยแพร่เมื่อ 25 มิ.ย. 2024
- Felix Mendelssohn - String Quartet No. 2 in A minor, Op. 13.
Performed by the Emerson Quartet.
Movements:
I. Adagio - Allegro vivace 0:00
II. Adagio non lento 7:34
III. Intermezzo: Allegretto con moto - Allegro di molto 15:25
IV. Presto - Adagio non lento 20:09
More information on this piece:
en.wikipedia.org/wiki/String_...
I do not own the sheet music nor the audio used in this video.
Audio:
classical-music-online.net/en...
Sheet Music:
imslp.org/wiki/String_Quartet... - เพลง
I. Adagio - Allegro Vivace (0:00): a standard sonata-allegro form in A major/minor, with introduction and no recapitulation.
*INTRODUCTION*
0:00 - Adagio: a gorgeous slow introduction with a 4-bar theme. Notice the similarities between this introduction, the "Adagio non lento" 2nd movement and the coda of the whole quartet (this is an evidence of thematic transformation).
0:54 - dominant preparation, with a viola trill that leads to...
*EXPOSITION*
1:18 - ...a rising and turbulent semiquaver figure which will be very important.
1:25 - T1 in tonic, precedeed by a 3-part imitation and stated fully by the 1st violin. Made out with dotted figures and often with sforzandi (long notes) and grace-note ornaments.
1:43 - T1 counterstament.
2:05 - transition.
2:21 - T2 in E minor, somewhat reminiscent of T1.
2:50 - closing theme, brought by the cello and extended to the 1st violin.
*DEVELOPMENT* (notice the proeminence given to the 1:18 motif)
3:16: start of the development.
3:21: fake T1 entry in the cello, leading to a whirlwind in B minor.
3:39: contrast, but still tense (look at the diminished chords).
3:56: transitional T1 starting in G minor, but modulating to A minor and E minor.
4:18: calmer moment giving respite, but leading to...
4:43: ...the dominant preparation, with the rising semiquaver figure.
*RECAPITULATION*
4:49: T1 in tonic once again, but without the imitation seen back then.
4:58: prelude to the transition.
5:09: transition.
5:20: T2 in tonic as well.
5:47: apparition of the rising figure, yearning for the closing theme.
6:01: closing theme finally returns, now played by the viola and in the tonic.
*CODA*
6:24: start of the coda.
6:47: T1 showing up, now with a different accompaniment from the static harmony (shown in both exposition and recapitulation).
7:00: virtuosic string-crossing on the viola, with enhances the accompaniment; violins in octaves.
7:18: finally heading to the end, with a diminished-chord in 7:22.
II. Adagio Non Lento (7:34): a stunning ABA-coda slow movement in F major, with B being an intricate 4-part fugue.
*A SECTION*
7:34: 19 bars of a masterful chorale, somewhat pastoral, with main melody played by the 1st violin. What seems to be only the melodic contour becomes a transformation of the Introduction in measure 9 (8:05).
*B SECTION - FUGUE*
8:50: a lonely viola introduces the main subject for a four part fugue. It is slightly altered in its entries (2nd violin and cello) to keep in the key. Extense use of suspensions.
9:31: brief sequence, with use of canon between viola and 1st violin.
9:56: transition to A minor, where 2nd violin and cello take the lead until...
10:28: ...a short "Poco Animato" interlude, inspired in 4:56 motif.
10:53: INVERSION!!! The main subject is now presented in its inverted form, adding to the complexity of this fugue. This new flowing semiquaver figure is taken from the 1st violin by the cello, while the 2nd violin and the viola exchange their subject.
11:16: brief melody + staccato texture, with a modulatory and canonic passage following.
11:51: transition to the climax, noting the harmonic intensity of 12:02 (where all the rhythms combine).
12:12: the original subject triumphantly returns, being exchanged between the three upper instruments (with a pedal A below).
12:33: recall of the "Poco Animato", cut by an ad. lib. cadenza on the 1st violin.
*A SECTION*
13:03: a special relief hits when the gorgeous starting chorale is played after such a fugal journey. It's almost unaltered, exception made to minor flourishes in 13:43 and 13:55.
*CODA*
14:12: violin holds a D pedal point, viola sings the fugal subject once more, being answered by 2nd violin and cello.
14:35: the turbulence is cut short by a return of the chorale. The subject peacefully closes the movement in the tonic (F major), culminating in a mid/high register tonic chord.
Mendelssohn was, definitely, a child prodigy. He shows, at age 18, a special approach and intimacy with music. In this string quartet, it's important to think he already displays knowledge of chamber music writing (with a generous viola-part). This is definitely great stuff!!!!!
PS: soon I'll be analyzing the other movements.
God.
It's been 10 months, we didn't get what we didn't deserve
@@yoavmal it's taking quite a while, I confess, but I'm certainly finishing it anytime soon :D
@@dacoconutnut9503 just here to remind you in case you forgot about us
Can’t believe Mendelssohn wrote this when he was 18......this is the best
no shit? that's amazing
It’s true tho
He is one of my favorite musician hey
He wrote a absolutely outstanding Octet when he was only 16 which is a lot more mature and colourful and technically more difficult than this one.
He was a truly amazing genius. He died way too young like Mozart, Schubert, Chopin and Schumann. They all accomplished an amazing amount in a very short time. How much more would they have done if they lived longer?
@@canman5060 the octet is fantastic but i much prefer the string quartet form. The octet for what it is is definitely one of the greatest pieces of chamber music ever written, but octets feel very cluttered and messy to me, which is why I prefer string quartets. As for early Romantic string quartets, this and his 6th are about as good as it gets.
From presto to adagio to allegro ...ending in adagio... al
most brought tears to my eyes...mendelssohn utilizes such layers with his
pieces...excellent !
I am so happy that he brought back the introduction at the end of the final movement from the first movement.
Yes, it creates such a great sense of nostalgia, and it makes the piece sound like it has truly come home.
This performance invigorates the human spirit , and is full of admiration and emotion , and comfortable to the ear and the mind
00:00 : I. Adagio (basé sur le lied Ist es wahr op.9 n°1 de Mendelsson)
00:54 : Ist es war
01:25 : Thème 1 (basé sur le rythme de Ist es wahr et similaire au premier thème du premier mouvement du quatuor n°15 op. 132 de Beethoven).
02:05 : transition vers le 2e thème en mi mineur
02:21 : 2e thème en mi mineur
02:50 : 3e thème en mi mineur
03:16 : Développement
04:49 : Réexposition
05:20 : 2e thème en la mineur
06:01 : 3e thème en la mineur
07:34 : II. Adagio non lento (thème basé sur le rythme de Ist es wahr)
08:50 : Passage fugué (thème basé sur le 3e thème du premier mouvement)
15:25 : III. Intermezzo: Allegretto con moto (thème similaire à celui de la fugue du 2e mouvement)
16:59 : Allegro di molto
18:56 : Retour de l'Allegretto con moto
20:09 : IV. Presto
20:43 : 1er thème (similaire dans son accompagnement et son intensité lyrique au 1er thème du 4e mouvement de l'op. 132 de Beethoven)
23:03 : Retour de la fugue du deuxième mouvement
24:22 : Retour du récitatif
26:05 : Retour de la fugue du deuxième mouvement, sur l'accompagnement du récitatif
26:43 : Adagio non lento (thème de la fugue)
27:20 : Adagio du premier mouvement
Sparkles with genius, passion and life.
Such a great piece, thank you for uploading! xoxo
3:22 is incredible!
same
Mendelssohn was a serious genius. I just wish he composed more.
He died way too young. The masterpieces yet to come from his compositions :( I’m sure the world would be different if he lived to 70 or 80.
@@justinlee2300 It's pretty much a sign of musical genius if you die before 35. Pergolesi, Mozart, Schubert, Mendelssohn...
For the short time he was around, his output is astonishingly prolific! And most are still amongst the most performed in the world today.
@@Pawel_Maleckionly one of the people you mentioned is genious. The rest are either mediocre or incompetent.
One of the best pieces of classical music that I know!
I am honestly in love with this piece. This is the one that made me dive deeper into classical music ( Cuz growing up i was surrounded with pop and edm music ) I just wish more people of my generation would see this beauty too yk?
PS. I'm like- 14 and a non musician
PPS. Twosetter here and yeah i discovered this through Eddy's posted recording of the 1st Movement(?)
Same I also came here cuz of Eddy's recording
honestly tho, I am a musician tho but i wish more people our gen would just give classical music a try and listen
So, not much younger than Felix was when he wrote this, brimming with the fire of youth.
Thanks for the upload! "The coda to the finale of Brahms' Third Symphony is an occasion for a return to the opening theme of the first movement, but this example of cyclic form is based on the practice of Mendelssohn, principally in the String Quartet in A minor and the Piano Sonata in E major." Sonata Forms, by Charles Rosen, Revised Edition, 1988, p. 352
It is so fun and brings back such memories to play along with this.
Heard this piece performed in winter. Really a great match.
Exquisite A minor key. What a very beautiful piece.
Currently waiting for eddy’s fans to try this piece
They already did... Eddy uploaded the 1st movement movement in his personal channel five years ago
@@dacoconutnut9503 I think he/she said Eddy's *fans* not Eddy hahaha😂😂 Eddy's video made me fall in love with this piece hence I'm here now HAHAHA
Eddy van Halen?
@@scottnoseworthy975 Eddy Chen from TwoSet Violin
@@scottnoseworthy975 Ed Edd'n Eddy
Alban Berg Quartet strike this to near perfection !
Muito bom. Obrigado.
Nice❤❤
Very good
Rather unusual tonal relationship: the secondary themes in E minor (the dominant minor) 2:20. Charles Rosen points to only two other instances in the 19th-century repertoire with such relationship: Mendelssohn's "Scottish" Symphony, Op. 56, and Brahms's Rhapsody in G minor, Op. 79, No. 2. Charles Rosen, "Brahms the Subversive," in Brahms Studies, ed. Bozarth, p. 105. A further interesting point, tonally, in this quartet, is the use of an introduction in A+.
Beethoven sonata #27 movement 1 is in e minor, secondary theme is in b minor. Almost every minor Key composition by Bach, Scarlatti etc modulates to dominant minor as often as relative major.
@@brianbernstein3826 Also, rhe finale of the Moonlight Sonata
@@klop4228 literally the very first few measures of the Beethoven sonatas modulate to dominant minor
Also, what program did you use to make the video?
C'est vraiment cool
Délicieux troisième mouvement...
Legend. Beginning a minor key work in the major key was pretty unheard of. 2nd movement use of minor 6th chord reminds me of beethoven's cavatina from op. 130
Kreutzer sonata does something similar if you buy that the piece is overall in A minor.
27:45 to 28:02 best part ❤❤❤
I hear parts of the violin concerto. He also has a great affinity with Jew folks song. I love his ability to write always a second voice...it is always present..thank you. It is a piece to study with great detail...good day.....
6:28 and further... reminds me of Samuel Barber's Dover Beach
21:43 😍😍😍😍😍
What program did you use to trim the PDFs into smaller pieces?
Just Windows' snipping tool, I think it comes installed with Windows 10 if I'm not mistaken.
Scene00 Ah okay. Thanks for replying, as I’m looking forward to upload some scores soon.
FYI: I use Paint (then take printscreens and adjust) along with Adobe Premiere Pro. There are lots of nice features that come with premiere pro. In addition there are a bunch of good tutorials on YT on how to work with it.
2:35 cello excerpts
2:50/3:18 as well
A.K.A serious Twoset performance
17:29 sounds like Mario coin sound effect
3rd mvt starts so well, why does it give up on it and goes into quick notes 😥
5:49
23:25
2:20 bach is that you?
tantastic
I, of course, apologize for such a statement. but. Usually this quartet (emerson quartet) plays very well. But here, throughout the recording, I can't help but feel that the people just didn't look at the notes. How so? in the 3rd movement, for example, the note "do" in the second bar is written without a dot. detail. igpaetsya with a dot, why? and there are a huge number of such moments throughout the entire performance. There is no change of states where they are written. Very strange recording, it turns out completely different music. Although the staff is very knowledgeable. Just weird.
7:02
このカルテットは上手いね
(・∀・)ノThank you!
7:08 arrange？
0:04 ist es wahr
15:25 도둑들
Te facts that people in classical days were smarter and creative
Classical music still exists today.
I came from TwoSet violin 😅
Ma chi arriva primo? Tecnica eccellente ma un primo tempo davvero troppo veloce e se ne perde il senso, almeno per me. Comunque complimenti