Bronwyn Livezey

Theory IV – Dr. Gross 1

Analysis of Beethoven String Quartet Op. 95

When considering the formal layout of the first movement from Beethoven’s

String Quartet Op. 95, it becomes apparent that the composition was written as an

accelerated sonata form. There are many ways in which Beethoven achieves this

variation of traditional form and in this paper I hope to explain where the deviations

occur and their affect on the music.

From the very beginning of this quartet in F minor, Beethoven startles the listener

by the abrupt entrance of the homorhythmic FTA theme (ex.1). His use of homorhythm

and the motive’s melodic minor scalar motion creates tension that pushes the music

forward yet not to the anticipated continuation of this motive. Instead, following an

unexpected 3 beats of rest, the FTA continues with an entirely new motive, which hangs

on the dominant (C), lacking any connection to what was previously heard. This is one of

the first ways in which Beethoven demonstrates a move from typical sonata form. In fact,

the entire FTA section presents a conglomeration of 4 motives, each seemingly unrelated

to the one previous or following it.

Although it may be hard to single out an FTA theme since there are several, I

believe Beethoven intended the opening motive to be what the listener remembers as the

main theme. As seen in example 2, a reminder of the opening motive returns in the cello

after a half cadence on the dominant. In this instance, the motive is outlining Gb major

chord, the Neapolitan of the original key, F minor. Again, in measure 13, a new motivic

theme begins, yet the viola hints towards the opening of the movement by groups of four,

slurred sixteenth notes that show acceleration in their occurrence after only two
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measures. These sixteenth notes help push the FTA back to the opening motive, which

then, again in homorhythm, ends the FTA and leads into a brief transition to the STA.

The first of two themes in the STA (ex. 3), sharply contrasts the main FTA

motive. Where the FTA motive is obtrusive and startling, the STA motive is calm and has

long melodic phrases. Tied triplets are introduced that are passed between voices, adding

to the sense of smooth, settled rhythm. However, as the theme continues, the triplet

rhythm in the first violin causes acceleration, building tension leading into the second

theme of the STA. Approaching the second theme, the viola adds running 16th notes

under the triplets which also increases the rhythmic tension (ex. 4)

The end of the transition to the second STA theme gives an example of how

Beethoven composed this movement using abrupt modulations and contrasting rhythms.

Coming off of the polyrhythm mentioned above, one hears a two-octave scale in A major,

seemingly out of nowhere. The previous four measures rest on the dominant of Db, an Ab

7th chord, causing one to anticipate the return of the Db STA motive. Instead,

Beethoven’s composition denies expectations by the voices sliding in unison from Ab to

A natural and ascending a homorythmic A major scale (ex. 5). Only after this

unanticipated motion, comes the arrival of the second STA theme. This scalar motive

repeats again in the exposition, and twice more in the recapitulation. Although they are

outlining different scales, they always function as a secondary chord.

Throughout the second STA theme, Db flat stays present yet unconfirmed

as the tonic note. As the theme continues the constant motion of 16th notes passed

between the middle voices and the cello create a push towards closing material that

arrives in measure 47. Here Beethoven varies again from sonata form by creating only a
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fake closing. He uses the same half step slide to a major scale to evade the closing of the

exposition and make a return to the second STA theme.

With the arrival of the development section (m. 60), Beethoven yet again

surprises the listener by beginning with the relative major of the movement’s home key,

rather than the anticipated continuation of the dominant. The tonal center continues to

shift as the piece modulates, outlining diminished seventh chords in a sequenced motive

leading to the return of a rhythmic theme previously introduced in the FTA (ex. 6 & 7)

After using an ascending chromatic tetrachord to assist in modulation, the bass voices

bring back parts of what was previously determined as the primary FTA motive.

Although, the motive is not in its entirety, it causes the listener to anticipate the

recapitulation. This motive continues for the next twelve measures, reaching a tonic pedal

shown in example 8. Despite the suggestive rhythmic motive of the primary theme and

the dominant pedal, the recapitulation still returns somewhat unexpectedly due to

Beethoven’s use of a half step slide in the bass to the tonic note instead of a cadence.

Within the recapitulation, Beethoven strays again from creating a traditional

sonata with acceleration of form in some places and expansion on motives and keys in

others. Beginning in measure 82, the recapitulation offers a surprise by giving only 4

measure of the primary FTA theme (ex. 8) before transitioning into the STA, whereas one

would expect a more thorough return of the opening material. This acceleration at the

very start of the recapitulation anticipates that what is to follow will also contain some

type of variance. The next instance of such variance is the return of the 1st STA theme in

its original key of Db instead of F minor, achieved by approaching the return with the

identical, modulating transition heard in the exposition. However shortly after restating
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the 1st STA theme in Db, Beethoven smoothly modulates, by use the dominant, to the

parallel major of the home key, F. After this next restatement, the transition heard

previously in the exposition, resurfaces moving towards the 2nd STA theme.

In direct reversal of the transition between the exposition and the development,

which modulates from Db to F major, the closing of the recapitulation is in F major and

the coda begins strongly tonicizing Db. Through aggressive arpeggios, the coda

modulates until, as seen in example 9, it lands on a secondary dominant of iv, iv, and

finally the dominant leading back to F minor. With the final arrival of the home key, part

of the rhythmic primary theme returns in the viola. This theme continues to accelerate

and build until the full primary theme comes back several measures before the end of this

movement. The return of the theme is surprising because when first heard, in the opening

of the exposition, the theme was forte. Due to the rhythmic acceleration and the return of

the primary motive one would anticipate an equally loud and abrupt ending to the

movement; instead the texture is contrasted by a steady diminuendo bringing the

movement to an end.

One final way Beethoven alters sonata form in this movement is through the

motivic relationships containing aspects of a fugue. For example, the 1st STA theme,

beginning in the viola, repeats two measures later in the cello and the other two voices

enter successively at two measure intervals. This however varies from a fugue because all

of the voices play the subject and there is never an answer sequenced to the dominant.

Considering this quartet as an accelerated sonata form is practical due to several

aspects of it. As stated in the paper above, the use of multiple, and many times, unrelated

motives creates a forward motion in the form. One finds the development section, a mere
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22 bars in length, much shorter than a typical development section in sonata form. One

also sees in the recapitulation, the abbreviation of the entire FTA section to only 3

measures of the primary motivic material. Beethoven’s use of atypical tonal centers, such

as his use of Db for the STA rather than the dominant of F minor, adds to this unique

variation of sonata form.

Refer to aspects of fugue!!!!! Research!!!!