String quartet

The early history of the string quartet is in many ways the history of Haydn's journey with the genre. Not that he composed the first quartet of all: before Haydn alighted on the genre there had been examples of divertimenti for two solo violins, viola and cello by Viennese composers such as Georg Christoph Wagenseil and Ignaz Holzbauer; and there had long been a tradition of performing orchestral works one instrument to a part. David Wyn Jones cites the widespread practice of four players, one to a part, playing works written for string orchestra, such as divertimenti and serenades, there being no separate (fifth) contrabass part in string scoring before the 19th century.[1] However, these composers showed no interest in exploring the development of the string quartet as a medium.

The origins of the string quartet can be further traced back to the Baroque trio sonata, in which two solo instruments performed with a continuo section consisting of a bass instrument (such as the cello) and keyboard. A very early example is a four-part sonata for string ensemble by Gregorio Allegri (1582–1652) that might be considered an important prototype.[2] By the early 18th century, composers were often adding a third soloist; and moreover it became common to omit the keyboard part, letting the cello support the bass line alone. Thus when Alessandro Scarlatti wrote a set of six works entitled "Sonata à Quattro per due Violini, Violetta [viola], e Violoncello senza Cembalo" (Sonata for four instruments: two violins, viola, and cello without harpsichord), this was a natural evolution from the existing tradition.[3]

Haydn is responsible for the string quartet in its now accepted form. Although he did not invent the combination of two violins, viola and cello, previous occurrences in chamber music were more likely due to circumstance rather than conscious design. The string quartet enjoyed no recognized status as an ensemble in the way that two violins with basso continuo – the so-called 'trio sonata' – had for more than a hundred years. Even the composition of Haydn's earliest string quartets owed more to chance than artistic imperative.[4] During the 1750s, when the young composer was still working mainly as a teacher and violinist in Vienna, he would occasionally be invited to spend time at the nearby castle at Weinzierl of the music-loving Austrian nobleman Karl Joseph Weber, Edler von Fürnberg. There he would play chamber music in an ad hoc ensemble consisting of Fürnberg's steward, a priest and a local cellist, and when the Baron asked for some new music for the group to play, Haydn's first string quartets were born. It is not clear whether any of these works ended up in the two sets published in the mid-1760s and known as Haydn's Opp.1 and 2 ('Op.0' is a quartet included in some early editions of Op.1, and only rediscovered in the 1930s), but it seems reasonable to assume that they were at least similar in character.

Haydn's early biographer Georg August Griesinger tells the story thus:

The following purely chance circumstance had led him to try his luck at the composition of quartets. A Baron Fürnberg had a place in Weinzierl, several stages from Vienna, and he invited from time to time his pastor, his manager, Haydn, and Albrechtsberger (a brother of the celebrated contrapuntist Albrechtsberger) in order to have a little music. Fürnberg requested Haydn to compose something that could be performed by these four amateurs. Haydn, then eighteen years old,[5] took up this proposal, and so originated his first quartet which, immediately it appeared, received such general approval that Haydn took courage to work further in this form.[6]

Haydn went on to write nine other quartets around this time. These works were published as his Op. 1 and Op. 2; one quartet went unpublished, and some of the early "quartets" are actually symphonies missing their wind parts. They have five movements and take the form: fast movement, minuet and trio I, slow movement, minuet and trio II, and fast finale. As Ludwig Finscher notes, they draw stylistically on the Austrian divertimento tradition.[4]

After these early efforts Haydn did not return to the string quartet for several years, but when he did so, it was to make a significant step in the genre's development. The intervening years saw Haydn begin his employment as Kapellmeister to the Esterhazy princes, for whom he was required to compose numerous symphonies and dozens of trios for violin, viola and the curious bass instrument called the baryton (played by Prince Nikolaus Esterhazy himself). The opportunities for experiment which both these genres offered Haydn perhaps helped him in the pursuit of the more advanced quartet style found in the eighteen works published in the early 1770s as Opp.9, 17 and 20. These are written in a form that became established as standard both for Haydn and for other composers. Clearly composed as sets, these quartets feature a four-movement layout having broadly conceived, moderately paced first movements and, in increasing measure, a democratic and conversational interplay of parts, close-knit thematic development, and skilful though often self-effacing use of counterpoint. The convincing realizations of the progressive aims of the Op.20 set of 1772, in particular, makes them the first major peak in the history of the string quartet.[7] Certainly they offered to their own time state-of-the art models to follow for the best part of a decade; the teenage Mozart, in his early quartets, was among the composers moved to imitate many of their characteristics, right down to the vital fugues with which Haydn sought to bring greater architectural weight to the finales of nos. 2, 5 and 6.

After Op.20 it becomes harder to point to similar major jumps in the string quartet's development in Haydn's hands, though not due to any lack of invention or application on the composer's part. As Donald Tovey put it: "with Op.20 the historical development of Haydn's quartets reaches its goal; and further progress is not progress in any historical sense, but simply the difference between one masterpiece and the next."[8]

That Haydn's string quartets were already "classics" that defined the genre by 1801 can be judged by Ignaz Pleyel's publication in Paris of a "complete" series that year, and the quartet's evolution as vehicle for public performance can be judged by Pleyel's ten-volume set of miniature scores intended for hearers rather than players, early examples of ths genre of music publishing. Since Haydn's day the string quartet has been prestigious and considered one of the true tests of a composer's art. This may be partly because the palette of sound is more restricted than with orchestral music, forcing the music to stand more on its own rather than relying on tonal color; or from the inherently contrapuntal tendency in music written for four equal instruments.

Quartet composition flourished in the Classical era. Mozart, Beethoven and Schubert each composed a number of quartets: "Beethoven in particular is credited with developing the genre in an experimental and dynamic fashion, especially in his later series of quartets written in the 1820s up until his death. Their forms and ideas inspired and continue to inspire musicians and composers, such as Richard Wagner and Béla Bartók."[9] Schubert's last musical wish was to hear Beethoven's Quartet in C♯ minor, Op. 131, which he did on 14 November 1828, just five days before his death. Upon listening to an earlier performance of this quartet, Schubert had remarked, "After this, what is left for us to write?" Wagner, when reflecting on Op. 131's first movement, said that it "reveals the most melancholy sentiment expressed in music". Of the late quartets, Beethoven cited his own favorite as Op. 131, which he saw as his most perfect single work.

Mendelssohn's six string quartets span the full range of his career, from 1828 to 1847; Schumann's three string quartets were all written in 1842 and dedicated to Mendelssohn, whose quartets Schumann had been studying in preparation, along with those of Haydn, Mozart and Beethoven. Several Romantic-era composers wrote only one quartet, while Antonín Dvořák wrote 14. In the modern era, the string quartet played a key role in the development of Arnold Schoenberg (who was the first to add a soprano in his String Quartet No. 2), Béla Bartók, and Dmitri Shostakovich especially. After the Second World War, some composers, such as Pierre Boulez and Olivier Messiaen questioned the relevance of the string quartet and avoided writing them. However, from the 1960s onwards, many composers have shown a renewed interest in the genre. During his tenure as Master of the Queen's Music, Peter Maxwell Davies produced a set of ten entitled the Naxos Quartets (to a commission from Naxos Records) from 2001–2007. David Matthews has written eleven, and Robin Holloway both five quartets and six "quartettini".

A composition for four players of stringed instruments may be in any form. Quartets written in the classical period usually have four movements with a large-scale structure similar to that of a symphony:

• First movement: Sonata form, Allegro, in the tonic key;
• Second movement: Slow movement, in a related key;
• Third movement: Minuet and Trio, in the tonic key;
• Fourth movement: Rondo form or Sonata rondo form, in the tonic key.

Substantial modifications to the typical structure were already achieved in Beethoven's later quartets, and despite some notable examples to the contrary, composers writing in the twentieth century increasingly abandoned this structure.

Many other chamber groups can be seen as modifications of the string quartet:

• The string quintet is a string quartet augmented by a fifth string instrument. Mozart employed two violas in his string quintets, while Schubert's string quintet utilized two cellos. Boccherini wrote a few quintets with a double bass as the fifth instrument.
• The string trio has one violin, a viola, and a cello.
• The piano quintet is a string quartet with an added piano.
• The piano quartet is a string quartet with one of the violins replaced by a piano.
• The clarinet quintet is a string quartet with an added clarinet, such as those by Mozart and Brahms.
• The string sextet contains two each of violins, violas and cellos. Brahms, for example, wrote two string sextets.

Further expansions have also been produced such as the String octet by Mendelssohn. Notably, Schoenberg included a soprano in the last two movements of his second string quartet, composed in 1908. This instrumentation of adding a voice is succeeded by Milhaud, Ginastera, Ferneyhough, Davies and many others. Another variation on the traditional string quartet is the electric string quartet with players performing on electric instruments.[10]

Some of the most notable works for string quartet include:

• Joseph Haydn's 68 string quartets, in particular Op. 20, Op. 33, Op. 76, Op. 64, No. 5 ("The Lark") and the string quartet version of "The Seven Last Words of Our Saviour On the Cross" (Op. 51)[11]
• Luigi Boccherini's 91 string quartets[12]
• Wolfgang Amadeus Mozart's 23 string quartets, in particular the set of six dedicated to Haydn, including K. 465 ("Dissonance")[11]
• Ludwig van Beethoven's 16 string quartets, in particular the five "middle" quartets Op. 59 nos 1–3, op. 74 and op. 95 as well as the five late quartets,[13] Op. 127 in E flat major, op. 130 in B flat major, Op. 131 in C sharp minor (in seven movements), Op. 132 in A minor, Op. 135 in F major and the Grosse Fuge in B-flat major Op. 133, the original final movement of Op. 130.
• Ferdinand Ries's 25 string quartets[14]
• Franz Schubert's String Quartet No. 12 in C minor ("Quartettsatz"), String Quartet No. 13 in A minor ("Rosamunde"), String Quartet No. 14 in D minor ("Death and the Maiden"), and String Quartet No. 15 in G major[15]
• Louis Spohr's 36 string quartets[14]
• Felix Mendelssohn's String Quartet No. 2 (early example of cyclic form)[16]
• Robert Schumann's three string quartets, Op. 41[17]
• Robert Volkmann's six string quartets "enjoyed great popularity until the early 20th century"[14]
• Johannes Brahms's three string quartets, Op. 51 No. 1 (in C minor), Op. 51 No. 2 (in A minor) and Op. 67 (in B-flat major)[14]
• Pyotr Ilyich Tchaikovsky's three string quartets[18]
• Niels Gade's String Quartet No. 3, Op. 63 (1888)[14]
• Giuseppe Verdi's String Quartet
• Antonín Dvořák's String Quartets Nos. 9–14, particularly String Quartet No. 12 in F major, "American";[11] also No. 3 is an exceptionally long quartet (lasting 65 minutes)[19]
• Bedřich Smetana's two quartets, especially String Quartet No. 1 in E minor, "From my Life", considered the first piece of chamber programme music[18]
• Max Reger's six string quartets, especially long Quartet No. 3 in D minor, Op. 74, Quartet No. 4 in E-flat major, Op. 109, and the last, Quartet No. 5 in F-sharp minor, Op. 121[18]
• César Franck's String Quartet in D major[18]
• Claude Debussy's String Quartet in G minor, Op. 10 (1893)[18]
• Maurice Ravel's String Quartet, in F major (1903)[20]
• Jean Sibelius's String Quartet in D minor, Op. 56, Voces intimae[21]
• Leoš Janáček's two string quartets, String Quartet No. 1, "Kreutzer Sonata" (1923), inspired by Leo Tolstoy's novel The Kreutzer Sonata, itself named after Beethoven's Kreutzer Sonata; and his second string quartet, Intimate Letters (1928)[22]
• Béla Bartók's six string quartets (1909, 1915–17, 1926, 1927, 1934, 1939)[22]
• Alexander Zemlinsky's Second String Quartet, Op. 15 (1913–15)[23]
• Arnold Schoenberg's four string quartets – No. 1 Op. 7 (1904–05) No. 2 Op. 10 (1907–08, noteworthy for its first ever inclusion of the human voice in a string quartet), No. 3 Op. 30 (1927) and No. 4 Op. 37 (1936)[21]
• Alban Berg's String Quartet, Op. 3 and Lyric Suite, later adapted for string orchestra[22]
• Anton Webern's Five Movements, Op.5 (1909),[18] Six Bagatelles, Op.9 (1913),[18] and Quartet, Op. 28 (1937–38)[21]
• Frank Bridge's Third and Fourth Quartets[22]
• Ruth Crawford Seeger's String Quartet (1931)[22]
• Darius Milhaud's set of eighteen string quartets written from 1912 to 1950, including nos. 14 and 15 op. 291, which can be played simultaneously as a string octet[24]
• Alois Hába's 16 string quartets[24]
• Dmitri Shostakovich's 15 string quartets, in particular the String Quartet No. 8 in C minor, Op. 110 (1960), and No. 15 Op. 144 (1974) in six Adagio movements[24]
• William Alwyn's three published string quartets as well as several unpublished quartets
• Rued Langgard's six string quartets as well as several other works for string quartets
• Elizabeth Maconchy's 13 string quartets[24]
• Robert Simpson's 16 string quartets[24]
• Heitor Villa-Lobos's 17 string quartets, in particular the Fifth ("Popular"), Sixth ("Brazilian"), and Seventeenth String Quartets[24]
• John Cage's String Quartet in Four Parts[24]
• Elliott Carter's five string quartets[24]
• Iannis Xenakis's ST/4 (1962)[24]
• Mauricio Kagel's String Quartet (1965–67)[24]
• György Ligeti's Second String Quartet (1968)[24]
• Philip Glass's eight string quartets, as well as Suite from Bent (1997), Dracula for string quartet (1998) and King Lear for string quartet (2019)
• Brian Ferneyhough's six string quartets[25]
• George Crumb's Black Angels[26]
• Henri Dutilleux's Ainsi la nuit[26]
• Morton Feldman's String Quartet No. 2 (1983), exceptionally long quartet (four and a half to over five hours depending on performance, although in some performances the audience is not expected to stay for its entirety)[26][27]
• Wolfgang Rihm's thirteen numbered string quartets as well as Grave and Quartettstudie[26]
• Karlheinz Stockhausen's Helikopter-Streichquartett (1992–93), to be played by the four musicians in four helicopters[28][26]

Whereas individual string players often group together to make ad hoc string quartets, others continue to play together for many years in ensembles which may be named after the first violinist (e.g. the Takács Quartet), a composer (e.g. the Borodin Quartet) or a location (e.g. the Budapest Quartet). Established quartets may undergo changes in membership whilst retaining their original name.

• Baldassarre, Antonio : "String Quartet: §4", in: The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
• Beaumont, Antony. 2001. "Zemlinsky [Zemlinszky], Alexander (von). The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
• Eisen, Cliff: "String Quartet: §§1–3", in: The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
• Finscher, Ludwig: Joseph Haydn und seine Zeit (Laaber, Germany: Laaber, 2000).
• Griesinger, Georg August: Biographical Notes Concerning Joseph Haydn (Leipzig: Breitkopf & Härtel, 1810/1963). English translation by Vernon Gotwals, in Haydn: Two Contemporary Portraits (Milwaukee: University of Wisconsin Press).
• Griffiths, Paul: The String Quartet: A History (New York: Thames and Hudson, 1983); ISBN 0-500-01311-X.
• Griffiths, Paul (1985). The String Quartet: A History (?second ed.). Thames and Hudson. ISBN 0-500-27383-9.CS1 maint: ref=harv (link)
• Griffiths, Paul: "String Quartet: §§5–9", in: The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
• Rosen, Charles: The Classical Style: Haydn, Mozart, Beethoven (London: Faber & Faber, 1971); ISBN 0-571-10234-4 (soft covers), ISBN 0-571-09118-0 (hardback).
• Steinhardt, Arnold: Indivisible by Four (Farrar, Straus Giroux, 1998); ISBN 0-374-52700-8.
• Tovey, Donald: Essays in Musical Analysis. .
• Webster, James & Feder, Georg: "Joseph Haydn", article in: The New Grove Dictionary of Music and Musicians (London & New York: Macmillan, 2001). Published separately as a book: The New Grove Haydn (New York: Macmillan 2002, ISBN 0-19-516904-2).
• Wyn Jones, David: "The Origins of the Quartet", in Robin Stowell (ed.): The Cambridge Companion to the String Quartet (Cambridge: Cambridge University Press, 2003); ISBN 0-521-00042-4.
• The Oxford Companion to Music Percy A. Scholes. Oxford University Press, 1938

• Barrett-Ayres, Reginald: Joseph Haydn and the String Quartet (New York: Schirmer Books, 1974); ISBN 0-02-870400-2.
• Blum, David: The Art of Quartet Playing: The Guarneri Quartet in Conversation with David Blum (New York: Alfred A. Knopf Inc., 1986); ISBN 0-394-53985-0.
• Eisler, Edith: 21st-Century String Quartets (String Letter Publishing, 2000); ISBN 1-890490-15-6.
• Keller, Hans: The Great Haydn Quartets. Their Interpretation (London: J. M. Dent, 1986); ISBN 0-460-86107-7.
• Rounds, David: The Four & the One: In Praise of String Quartets (Fort Bragg, CA: Lost Coast Press, 1999); ISBN 1-882897-26-9.
• Stowell, Robin (ed.): The Cambridge Companion to the String Quartet (Cambridge: Cambridge University Press, 2003); ISBN 0-521-00042-4.
• Vuibert, Francis: Répertoire universel du quatuor à cordes (2009) ProQuartet-CEMC; ISBN 978-2-9531544-0-5.
• Winter, Robert (ed.): The Beethoven Quartet Companion (University of California Press, 1996).

• Greg Sandow – Introducing String Quartets at the Wayback Machine (archived July 18, 2011)
• A brief history of the development of the String Quartet up to Beethoven
• Beethoven's string quartets
• Art of the States: string quartet works for string quartet by American composers
• String Quartet Sound-bites from lesser known composers E.G. Onslow, Viotti, Rheinberger, Gretchaninov, A.Taneyev, Kiel, Busoni & many more.
• European archive String quartet recordings on copyright free Lp's at the European Archive (for non-American users only).
• Shostakovich: the string quartets
• String quartet compositions and performers since about 1914 and the connections between them