The tremendous momentum suggests a tarentella , a leaping gypsy dance, perhaps even something Russian. This is characteristic and crucial Beethoven that escalates with the trio as simple scale motives combine in staggering counterpoint to forge mountains of music thrusting upward with tectonic force.
The sheer bounding inertia requires Beethoven and the players to apply the brakes quite skillfully to manage a nearly miraculous seamless segue into the finale. While we might lament the absence of a fugue in such an elegant and satisfying quartet thus far, Beethoven opts for high Viennese hijinks to conclude the work, giving us something even better: a fine set of variations, yet another form in which Beethoven bulldozed the erstwhile classical style with his unbridled creative volcanism.
String Quartet No in E Flat Major, D Op No.1 by F. Schubert on MusicaNeo
It was George Bernard Shaw who remarked that Beethoven could make interesting music from bare sticks of themes and this may be one of the best examples. The series of variations can aptly be compared with the finest of Jazz solo pianists in that each new "chorus" is a miracle of invention and a transformation of mood and character. The theme is a full two-part binary form, a detail that can greatly guide your listening: the "second half" of each variation is where development and ingenuity accelerate every time. But the finest detail lies in Beethoven's management of the overall shape of the movement.
A handful of nearly manic, compressed final variations organically create a coda of perfectly conclusive effect.
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String Quartet No. 10, Movement 3 - Score Sheet Music by Antonín Dvorák
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