So here it goes...
I too believe that the first movement of this string quartet is a rounded binary. The piece starts out with an introduction (mm. 10) in g minor and goes into the A section starting in m. 11. I feel that there are parts to the beginning A section. The first part begins in measure 11 and continue in g minor all the way until m. 46. From mm. 47 to the downbeat of m. 54 i feel is a transition going into the relative Major key of Bb Major thus beginning the b part of the A section. The b section goes from mm. 54-78. The B Section begins at m. 79 and continues on to m. 127. Throughout this B section there are recurrences of the introduction however it is now in c minor. The A section returns in m. 128 and continues on to m. 167. It modulates again from g minor...but now to G Major in measure 168. The b section continues on to the end of the piece at m. 197 thus completeing the first movement of this string quartet.
The second movement is a theme and variations. The theme is stated is in the first 3 bars of the Largo movement. However, the introduction goes all the through m. 10. The first section of this movement is in E Major (mm. 1 - 22). In measure 23, where the second portion of the movement starts, it modulates to e minor. The piece stays in e minor up until m. 37 continuing the theme in the 1st violin. In m. 38, the piece comes back to E Major and continues with the theme. Throughout the last section of this piece, Haydn integrated some moving lines in the first violin, which he started to do in the melody part in the minor section (i.e. mm. 45-46). The last section ends at measure 59 the same way the first section ended in m. 22. There is codetta from 60 - end redifing the key of E Major that was evident throughout.
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4 comments:
The analysis of both movements looked very similar to what I have. My only disagreement is that in the second movement, the theme isn't only the first three measures, but rather the entire first ten measures.
nonsense...the first movement of sonata is in sonata form...please study classical history before analysing...there is exposition, development and recap.
Daniel White is correct. Your analysis of the Largo Assai is incorrect in many ways. This is not a theme and variations. It is a Ternary Form. The A section is a rounded binary in itself (1-22) ,B section (23-37), and A prime (38-59) with a codetta in the last five bars.
Furthermore the B section does NOT stay in e minor. There is clearly a pivot chord in measure 27 that takes you to C major or did you miss that cadential 8/6/4 going to V7 in measure 29 that cadences on a perfect authentic cadence in measure 30? THen is clearly pivots back on the downbeat of measure 34.
Also in the A prime the violin has moving lines, but there is nothing really new in these lines. It simply written out ornamentation of the original melody.
Therefore making it a clear return of the A section.
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