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Electronic Theses, Treatises and Dissertations The Graduate School
2008
Romantic Irony in the String Quartets of

Felix Mendelssohn Bartholdy and Robert
Schumann
Robin Wildstein Garvin
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FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
ROMANTIC IRONY IN THE STRING QUARTETS OF FELIX
MENDELSSOHN BARTHOLDY AND ROBERT SCHUMANN
By
A Dissertation submitted to the

College of Music
in partial fulfillment of the
requirements for the degree of
Doctor of Philosophy
Degree awarded:
Fall Semester, 2008
The members of the Committee approve the Dissertation of Robin Wildstein
Garvin on September 3, 2008.
______________________________
Douglass Seaton
Professor Directing Treatise
______________________________
Eric Walker
Outside Committee Member
______________________________
Michael Bakan
Committee Member
______________________________
Charles E. Brewer
Committee Member
The Office of Graduate Studies has verified and approved the above named
committee members.
ii
This dissertation is dedicated to my parents
Larry and Diane Wildstein
iii
ACKNOWLEDGEMENTS
I would like to thank my major professor, Douglass Seaton, for his unflagging support
from the inception of this project to its long-delayed conclusion. Quite apart from his help with
my dissertation, he has been instrumental in my development as a musicologist, both as a teacher
and a scholar. I would also like to thank committee members Michael Bakan, Charles E.
Brewer, and Eric Walker for their careful reading and many helpful suggestions.
My parents Larry and Diane Wildstein have supported and encouraged me throughout my
academic career. And finally I would like to thank my husband Larry Garvin and our children
Hannah, Philip, and Samuel, without whom this dissertation would have been finished a long
time ago, but without whom I cannot imagine my life.
iv
TABLE OF CONTENTS
List of Diagrams...viii
List of Examples........................................................................................... xi
Abstract ........................................................................................................ xiv
1. ROMANTIC IRONY .............................................................................. 1
Background: General Definition and Categories of Irony 2

Schlegel and Romantic Irony 6
Framework for this Study 9
2. ROMANTIC IRONY IN MUSIC ............................................................ 11
Methodology 11
The Perceivable World of the Work....................................... 12
The Work .............................................................................. 12
Contradictions in the World of the Work ............................... 13
Persona.................................................................................. 13
Paradoxes Specific to the Work ............................................. 14
Transcendence....................................................................... 14
3. ROMANTIC IRONY IN FELIX MENDELSSOHN

BARTHOLDYS STRING QUARTETS...................................................... 15
String Quartet in A Minor, op. 13 15

The Work .............................................................................. 18
Persona.................................................................................. 36
Transcendence....................................................................... 40
String Quartet in E-flat Major, op. 12 42
The Work .............................................................................. 47
Persona.................................................................................. 57
v
Paradoxes Specific to the Work ............................................ 57
Transcendence ..58
String Quartets op. 44, nos. 1-3 59
The Perceivable World of the Work: op. 44........................... 59
The Perceivable World of the Work: op. 44 no. 2 .................. 62
The Work .............................................................................. 63
The Work .............................................................................. 78
The Work .............................................................................. 99
Persona: op. 44...................................................................... 114
Transcendence....................................................................... 116
String Quartet in F Minor, op. 80 117
The Work .............................................................................. 120
Persona.................................................................................. 138
Transcendence....................................................................... 139
4. ROMANTIC IRONY IN ROBERT SCHUMANNS STRING

QUARTETS OP. 41 NOS. 1-3 ..................................................................... 142
String Quartets op. 41, nos. 1-3 142

String Quartet in A Minor, op. 41 no.1 147
The Work .............................................................................. 147
String Quartet in F Major, op. 41 no. 2 160
The Work .............................................................................. 160
String Quartet in A Major, op. 41 no. 3 172
The Work .............................................................................. 172
Persona: op. 41...................................................................... 186
Transcendence: op. 41 ........................................................... 188
vi
5. SUMMARY AND CONCLUSION ......................................................... 190
The Perceivable World of the Work 191

The Work 191
Paradoxes Specific to the Work 193
Persona 195
Transcendence 196
BIBLIOGRAPHY ........................................................................................ 199
BIOGRAPHICAL SKETCH ........................................................................ 206
vii
LIST OF DIAGRAMS
Chapter 3
Diagram 3.1. Felix Mendelssohn Bartholdy, String Quartet in A

minor, op. 13, mvt. 1.................................................................................... 23

minor, op. 13, mvt. 2.................................................................................... 27

minor, op. 13, mvt. 3.................................................................................... 29

minor, op. 13, mvt. 4.................................................................................... 32
Diagram 3.5. Felix Mendelssohn Bartholdy, String Quartet in E-flat

major, op. 12, mvt. 1 .................................................................................... 48

major, op. 12, mvt. 2 .................................................................................... 52

major, op. 12, mvt. 3 .................................................................................... 53

major, op. 12, mvt. 4 .................................................................................... 54
Diagram 3.9. Felix Mendelssohn Bartholdy, String Quartet in E

minor, op. 44 no. 2 , mvt. 1 .......................................................................... 63

minor, op. 44 no. 2 , mvt. 2 .......................................................................... 69

minor, op. 44 no. 2 , mvt. 3 .......................................................................... 71

minor, op. 44 no. 2 , mvt. 4 .......................................................................... 74

major, op. 44 no. 3 , mvt. 1........................................................................... 79

major, op. 44 no. 3 , mvt. 2........................................................................... 84
viii
major, op. 44 no. 3 , mvt. 3........................................................................... 86

major, op. 44 no. 3 , mvt. 4........................................................................... 90
Diagram 3.17. Felix Mendelssohn Bartholdy, String Quartet in D

major, op. 44 no. 1 , mvt. 1........................................................................... 100

major, op. 44 no. 1 , mvt. 2........................................................................... 104

major, op. 44 no. 1 , mvt. 3........................................................................... 108

major, op. 44 no. 1 , mvt. 4........................................................................... 109
Diagram 3.21. Felix Mendelssohn Bartholdy, String Quartet in F

minor, op. 80 , mvt. 1................................................................................... 122

minor, op. 80 , mvt. 2................................................................................... 127

minor, op. 80 , mvt. 3................................................................................... 129

minor, op. 80 , mvt. 4................................................................................... 134
Chapter 4
Diagram 4.1. Robert Schumann, String Quartet in A minor, op. 41

no. 1, mvt. 1................................................................................................. 148

no. 1, mvt. 2................................................................................................. 151

no. 1, mvt. 3................................................................................................. 153

no. 1, mvt. 4................................................................................................. 157
Diagram 4.5. Robert Schumann, String Quartet in F major, op. 41

no. 2, mvt. 1................................................................................................. 162
ix
no. 2, mvt. 2................................................................................................ 164

no. 2, mvt. 3................................................................................................. 165

no. 2, mvt. 4................................................................................................ 169
Diagram 4.9. Robert Schumann, String Quartet in A major, op. 41

no. 3, mvt. 1................................................................................................ 173

no. 3, mvt. 2................................................................................................ 175

no. 3, mvt. 3................................................................................................ 181

no. 3, mvt. 4................................................................................................ 183
x
LIST OF EXAMPLES
Chapter 3
Example 3.1. Felix Mendelssohn Bartholdy,

Frage, op. 9 no. 1 .............................................................................................. 20

String Quartet op. 13 mvt. 1, mm. 13-17 ........................................................... 21

String Quartet op. 13 mvt. 4, mm. 365-72 ......................................................... 22

String Quartet op. 13, mvt. 4, mm. 373-98 ........................................................ 32


String Quartet op. 44 no. 2 mvt. 1, mm. 39-53.................................................. 67

String Quartet op. 44 no. 2 mvt. 2, mm.141-50.................................................. 69

String Quartet op. 44 no. 2 mvt. 3, mm. 53-56.................................................. 72

String Quartet op. 44 no. 2 mvt. 4, mm. 213-16................................................. 74

String Quartet op. 44 no. 3 mvt. 2, mm. 114-22................................................ 83

String Quartet op. 44 no. 3 mvt. 4, mm. 54-70................................................... 89


String Quartet op. 44 no. 3 mvt. 4, mm.159-90.................................................. 95

xi


String Quartet op. 80 mvt. 1, mm. 1-23 ............................................................. 121



String Quartet op. 80 mvt. 4, mm. 396-461 ....................................................... 132
Chapter 4
Example 4.1. Robert Schumann,



String Quartet op. 41, no. 1, mvt. 4, mm. 253-84............................................... 158

Example 4.5a. Robert Schumann,

Example 4.5b. Felix Mendelssohn Bartholdy,

String Quartet op. 13, mvt. 3, mm. 138-63 ........................................................ 168
Example 4.6a. Robert Schumann,

Example 4.6b. Felix Mendelssohn Bartholdy,

String Quartet op. 44 no. 1 mvt. 3, mm. 1-12..................................................... 178

xii
ABSTRACT
This dissertation applies the concept of Romantic irony as a critical approach to

instrumental music of the nineteenth century, based on the string quartets of Felix Mendelssohn
Bartholdy and Robert Schumann. Romantic irony, notably identified by Friedrich Schlegel,
influenced authors and composers and Mendelssohn and Schumann would have been familiar
with the concept. As Romantic musicians with extensive literary knowledge who also composed
significant string quartets, Mendelssohn and Schumann are the two most obvious choices whose
music enables such a study.
By the nineteenth century string quartets had become established as the most academic,
intellectual, and abstract of the instrumental genres. The genre would intuitively seem the least
likely to manifest Romantic irony. If Romantic irony could be shown to exist in string quartets,
then it must have been a very powerful concept indeed.
There can be no formulaic methodology for indentifying Romantic irony in a musical
work. Consequently the primary criterion of any methodology for this investigation must be the
flexibility to adapt to different situations. Certain fundamental objectives will remain constant,
although in each case the subsidiary ones will differ. The procedure consists of examining each
work in a series of steps: 1) identify the perceivable world of the work; 2) recognize the
contradictions of that world; 3) identify the works persona; 4) distinguish the paradoxes specific
to the work; and 5) explain how the preceding steps lead to transcendence, or how a new
understanding of the world is reached through the works paradoxes.
Mendelssohn and Schumann express some similar themes in their respective
quartets. By raising issues of musical meaning, the quartets compel a look at the broader scope
of music and meaning. The two composers express their concern with musical meaning in very
different manners, however. Schumanns focus is on the larger picture that includes the history
of music, while Mendelssohn emphasizes his own intriguing aesthetic position regarding
meaning in music.
xiii
CHAPTER 1
ROMANTIC IRONY
Introduction
This study demonstrates how the concept of Romantic irony may be applied as a critical
approach to instrumental music of the nineteenth century, based on specific explorations of the
string quartets of Felix Mendelssohn Bartholdy and Robert Schumann interpreted through the
views of Romantic irony espoused by Friedrich Schlegel. These two composers were selected
for this study for two reasons. First of all, both would have been familiar with Romantic irony.
Indeed, both were extremely interested in and knowledgeable about literature. Schumann was
the son of a bookseller and was exposed to a wide variety of literature, and he often wrote about
Friedrich Schlegel and modeled some of his work on Schlegels.1 Mendelssohn read widely and
knew the literature of his time, as well as the classics, extremely well. He had the added
advantage of being related to Schlegel, who was married to one of Mendelssohns aunts.
Mendelssohn and Schumann are thus the two most obvious choices among Romantic musicians
with extensive literary knowledge who also composed significant string quartets.
The choice of genre was an important consideration as well. By the nineteenth century
string quartets had become established as the most academic, intellectual, and abstract of the
instrumental genres. The genre would intuitively seem the both the most and least likely to
enable us to track an extramusical idea, and therefore the identification of irony in the quartet
would challenge the musicologist most of all. Further, if Romantic irony could be shown to exist
in string quartets, then it must have been a very powerful concept indeed.
There is an apparent imbalance in the treatment of the works of the two composers.
Mendelssohns six string quartets were composed over the course of his life, necessitating a
detailed look at the historical and biographic events surrounding each one (or, in the case of his
op. 44, the set of three works). Schumanns three quartets however, were composed as a set
1
For more on Schumann and Schlegel, see, for example, John Daverio, Robert Schumann: Herald of a
New Poetic Age (N. Y. and Oxford: Oxford University Press, 1997), 24 (for Schumanns early acquaintance with
Schlegels writings), 42-43 (where Daverio likens Schumann to Schlegel), and passim.
1
within a period of just two months, and thus they do not require the same kind of extensive
treatment for each individual quartet. As a result some aspects of the discussion are able to serve
for the entire set instead of including a section for each quartet.
Romantic irony does not always look the same. Although each of the nine quartets
manifests Romantic irony, they do so in a variety of ways. The concluding chapter therefore
serves to juxtapose the interpretations reached in the individual discussion comparing and
contrasting the different ways Romantic irony is demonstrated in each quartet or set of quartets.
Background: General Definition and Categories of Irony
From its earliest conception irony was an idea based in ambiguity. 2 The term originated
in ancient Greek comedy. The eiron was a dissembler, who used understatement and the
pretense of stupidity to triumph over the alazon, the self-deceiving and stupid braggart.3
Originally the term was a pejorative one: an eiron was a wily, cunning person versed in every
sort of unscrupulous trickery, often symbolized as a sly fox.4 Implicit is that the eiron is
deliberately lying, and it is clear that in most of the various uses of the concept of irony there is
fundamentally a difference between what is asserted and what is reality.5
Both the term itself and the meaning behind it were adopted by later cultures. The Latin
form, ironia, was used by Cicero, Quintilian, and other Romans to identify a rhetorical manner
of discourse in which the meaning is contrary to the words.6 Irony was translated into English as
2
The classic text on Romantic irony is Friedrich Schlegel, Kritische Ausgabe, vol. 2, edited by Hans
Eichner (Munich, Paderborn, Vienna: Schningh, 1967). For discussions of Schlegels ideas the reader is referred to
Dialogue on Poetry and Literary Aphorisms, translated by Ernst Behler and Roman Stuc (University Park:
Pennsylvania State University Press, 1968); M. H. Abrams, Natural Supernaturalism (N. Y.: W. W. Norton, 1973);
Anne K. Mellor, English Romantic Irony (Cambridge, Mass.: Harvard University Press, 1980); Jerome McGann,
The Romantic Ideology: A Critical Investigation (Chicago: University of Chicago Press, 1983); Lilian Furst,
Fictions of Romantic Irony (Cambridge, Mass.: Harvard University Press, 1984); Kathleen Wheeler, editor, German
Aesthetic and Literary Criticism: The Romantic Ironists and Goethe (Cambridge: Cambridge University Press,
1984); Ernst Behler, The Theory of Irony in German Romanticism, Romantic Irony, edited by Frederick Garber
(Budapest: Akadmai Kiad, 1988), 43-81; Raymond Immerwahr, The Practice of Irony in Early German
Romanticism, Romantic Irony, edited by Frederick Garber (Budapest: Akadmai Kiad, 1988), 82-96.
3
M. H. Abrams, A Glossary of Literary Terms, seventh edition (N. Y.: Holt, Rinehart, and Winston, 1999),
135.
4
Furst, 6.
5
Abrams, Glossary, 135.
6
J. A. Cuddon, Dictionary of Literary Terms, 4th edition, revised by C. E. Preston (Oxford and Malen,
Mass.: Blackwell, 1998), 428.
2
yroye in 1502, first appearing in Thordynary of Crysten Men.7 It was defined as of
grammare, by whiche a man sayth one & gyveth to understande the contrarye.8
Irony thus came to be known as a literary technique and used as an element of style. It
had, however, no philosophical implications, and as an aesthetic category it was ignored by the
authors of treatises. It was not in common usage until the end of the seventeenth and beginning
of the eighteenth centuries. Irony, like many other art forms, was first developed and practiced
and only analyzed later.9 Irony became an aesthetic category only towards the end of the
eighteenth century.10
A common element among all forms of irony is paradox.11 In order for irony to function
there must be paradoxes, and it is precisely through these paradoxes that irony is achieved,
whether in literature or in music. In some cases the paradoxes that appear in music can be
compared with those found in literature. In other instances, however, there may be paradoxes
that are created in ways that are peculiar to music and can have no literary parallels.
M. H. Abrams lists two pairs of classifications of irony, based on different aspects: verbal
and structural, and stable and unstable. Verbal irony occurs when the literal meaning of the
words is very different from what is actually meant. Structural irony is a feature that allows the
author to sustain a double meaning. This can be accomplished, for example, by the presence of a
naive hero or a fallible narrator. The naive heros simplicity or obtuseness induces him to give
an incorrect interpretation to the events of the story. This type of structural irony depends on a
shared knowledge by the author and the audience of the authors ironic intention, knowledge not
shared with the hero. The naive hero is not aware of his simplicity, although both the author and
audience are. Structural irony can also be effected through the use of a fallible narrator, who is a
participant in the action and whose report is filtered through his viewpoint and with his
prejudices.12 Laurence Sternes The Life and Opinions of Tristram Shandy, Gentleman is a good
7
Furst, 7.
8
Cuddon, 336.
9
Ibid.
10
Ibid., 429.
11
Ibid., 428.
12
3
example of structural irony.13 This multivolume work contains nothing but digressions about
Tristrams uncle and father rather than actually expressing the life and opinions of the title
character. Everything is seen through Tristrams eyes; the reader has no way to gauge the events
and reactions to them other than Tristrams perception of them. Stable irony exists when the
author shares with the reader information that serves as a firm ground for ironically qualifying
or subverting the surface meaning.14 The firm ground allows irony to be reconstructed with
relative ease, as in Jonathan Swifts A Modest Proposal.15 In this case Swifts outrageous
proposal is undercut by the title, which implies an idea that is the very model of reasonableness.
Only an extraordinarily stupid reader would take this mock treatises ideas seriously; the ironic
intent in the absurd proposal is clear. Unstable irony is the opposite, that is, where there is no
firm position and everything can be undercut by further ironies.16 This type of irony eludes a
reasonably definitive interpretation.17 Samuel Becketts Waiting for Godot has an endless
regress of ironic undercuttings that specifically denies that there is even a secure place from
which to evaluate the actions of the characters.18
Abrams also lists four uses of irony as a literary device or mode of organization: Socratic,
dramatic, cosmic, and Romantic.19 Socratic irony is a profession of ignorance on the part of one
party in order to highlight true ignorance in the other.20 The following excerpt from Platos
Republic demonstrates this type of irony through a discussion between Glaucon, a musician, and
Socrates.
Surely, I said, you can state this first point, that a song consists of three
elements: words, musical mode, and rhythm. Yes, he said, I can state that. As
13
Ibid.
14
Ibid.
15
Furst, 9-10.
16
17
Furst, 5.
18
19
Ibid., 136-37.
20
Fowler, Modern English Usage, 2nd edition, edited by Sir Ernest Gowers (Oxford: Clarendon Press,
1965), 305.
4
far as words go, there is no difference with speech which is not set to music; it
must conform to the patterns which we enunciated just now and in the same
way. True, he said. Further, the mode and the rhythm must fit the words.
Of course. And we certainly said that we needed no dirges and
lamentations in our discourses. No indeed. What are the lamenting modes,
then? You tell me, for you are musical. 21
Glaucon knows about the modes but is not creative in his thinking. Socrates, on the other hand,
claims not to know anything about the modes, but he thinks well. Through his questions
Socrates illustrates the limits of Glaucons understanding, and it becomes evident to the reader
that Glaucon is a musician only when Socrates calls him one, pointing up the irony inherent in
this dialogue. Dramatic irony exists in a situation in which the author and audience share
knowledge of which the character is ignorant. Dramatic irony can be found in either comedy or
tragedy. One of the best-known examples of this type of irony is Oedipus Rex. The audience is
horrified by the implications of Oedipuss marriage to Jocasta, but Oedipus himself does not
realize his crime.22 (Structural and dramatic irony share similar elements, but for Abrams
structural irony depends on the audiences knowledge of the authors ironic intention, while
dramatic irony depends on knowledge shared by the author and audience but not by the
character.) Cosmic irony occurs when some form of deity or deity-like force (such as fate)
seems to be manipulating events in favor of the protagonist, but these hopes turn out to be false,
leading to an eventual frustrating and even tragic end for the protagonist.23 Thomas Hardys
characters often face inexorable consequences arising from their actions. Tess of the
DUrbervilles, in which the heroine, having lost her virtue because of her innocence, then loses
her happiness because of her honesty, finds it again only by murder, and having been briefly
happy, is hanged, is an example.24 In this example fate determines the heroines future.
The final category, Romantic irony, in Abramss view, is manifested in writing in which
the author builds up illusion representing reality, only to shatter it by revealing that the author, as
artist, is the creator and arbitrary manipulator of his characters and their actions.25 In Byrons
21
Platos Republic, translated by G. M. A. Grube (Indianapolis: Hackett Publishing, 1974), 68.
22
Cuddon, 237.
23
24
Ibid.
25
5
Don Juan both the title character and the narrator engage in a constant process of creation and
de-creation, of commitment and detachment, of self-projection and self-criticism.26 All of these
elements contribute to the manifestation of Romantic irony.
Schlegel and Romantic Irony
Romantic irony was first framed as a philosophical concept rather than as a purely
rhetorical one by Friedrich Schlegel, who formulated his ideas during the last years of the
eighteenth and the first years of the nineteenth centuries. Schlegel first constructed an original
perception of irony, and he then gave it a place of primary importance in his aesthetic theory.27
He developed a hierarchy of ironies; the lower literary forms included the rhetorical, satirical,
polemical, and parodistic irony, while higher philosophical irony is genuine, complete, and
divine in spirit.28 This higher form is what Schlegel regarded as Romantic irony.
Although the term Romantic irony was coined by Schlegel, he actually used it only
four times, and all of these instances appear in his private notebooks, which were not published
until 1957. Neither Ludwig Tieck nor A. W. Schlegel used the term Romantic irony, although,
like Friedrich Schlegel, they too made a clear distinction between rhetorical irony and Romantic
irony. Novalis used the phrase in regard to Goethes Wilhelm Meister, but again that was in a
private notebook not published until 1901. Although Hegel constantly criticized the philosophic
concept behind Romantic irony, he did not use the term. Kierkegaard also did not use the term.
The first use of the term Romantic irony in a scholarly work occurred in Die romantische
Schule in ihrem Zusammenhang mit Gthe und Schiller (1850) by Hermann Hettner, a historian
of German literature.29
Just as Schlegel did not publicly use the expression Romantic irony, he also never
provided a concise definition. In all, three sets of aphorisms provide the basis for an
understanding of Schlegels idea of Romantic irony. The first set, the Kritische Fragmente, was
26
Furst, 49.
27
Furst, 24.
28
Ibid., 25.
29
Hettner writes of that bermtig auflsende Willkr des Schaffens . . . die unter dem Namen der
romantischen Ironie so berhmt und berchtigt geworden ist (exuberantly dissolving wilfulness in creativity . . .
that has gained such fame and notoriety under the name of romantic irony), Furst, 30. See also Hermann Hettner,
Schriften zur Literatur, edited by Jrgen Jahn (Berlin: Aufbau, 1952), 52.
6
published in 1797. The second set was the Athenums-Fragmente, published in 1798, and the
final set, Ideen, appeared in 1800. Instead of a clear definition, Schlegels discussion took on
characteristics of Romantic irony itself. He aspired to express thoughts and the processes of
thinking as flashes of insight, as axioms, and as works of art in miniature.30 As a consequence,
a single definition encompassing all the elements Schlegel considered would be impossible.
It may be helpful here to review some of Schlegels aphorisms concerning Romantic
irony.
Kritische Fragmente
42.
Philosophy is the real homeland of irony, which one would like to define as
logical beauty: for wherever philosophy appears in oral or written dialogues
and it is not simply confined into rigid systems--there irony should be asked
for and provided. And even the Stoics considered urbanity as virtue. Of
course, there is also a rhetorical species of irony which, sparingly used, has an
excellent effect, especially in polemics; but compared to the sublime urbanity
of the Socratic muse, it is like the pomp of the most splendid oration set over
against the noble style of ancient tragedy. Only poetry can reach the heights of
philosophy in this way, and only poetry does not restrict itself to isolated
ironical passages, as rhetoric does. There are ancient and modern poems that
are pervaded by the divine breath of irony throughout and informed by a truly
transcendental buffoonery. Internally: the mood that surveys everything and
rises infinitely above all limitations, even above its own art, virtue, or genius;
externally, in its execution: the mimic style of an averagely gifted Italian
buffo. 31
30
Lowry Nelson, Jr., Romantic Irony and Cervantes, Romantic Irony, edited by Frederick Garber
(Budapest: Akadmai Kiad, 1988), 16.
31
Schlegel, Lyceum 42, Friedrich Schlegels Lucinde and the Fragments, translated with an introduction
by Peter Firchow (Minneapolis: University of Minnesota Press, 1971), 148. Die Philsophie ist die eigentliche
Heimat der Ironie, welche man logische Schnheit definieren mchte: denn berall wo in mndlichen oder
geschriebenen Gersprchen, und nur nicht ganz systematisch philosophiert wird, soll man Ironie leisten und fordern;
und sogar die Stoiker hielten die Urbanitt fr eine Tugend. Freilich gibts auch eine rhetorische Ironie, welche
sparsam gebraucht vortreffliche Wirkung tut, besonders im Polemischen; doch ist sie gegen die erhabne Urbanitt
der sokratischen Muse, was die Pracht der glnzendsten Kunstrede gegen eine alte Tragdie in hohem Styl. Die
poesie allein kann sich auch von dieser Seite bis zur Hhe der Philosophie erheben, und ist nicht auf ironische
Stellen begrndet, wie die Rhetorik. Es gibt alte und moderne Gedichte, die durchgngig im Ganzen und berall
den gttlichen Hauch der Ironie atmen. Es lebt in ihnen eine wirklich transzendentale Buffonerie. Im Innern, die
Stimmung, welche alles bersieht, und sich ber alles Bedingte unendlich erhebt, auch ber eigne Kunst, Tugend,
oder Genialitt: im uern, in der Ausfhrung die mimische Manier eines gewhnlichen guten italinischen Buffo.
Friedrich Schlegel, Kritische Ausgabe, vol. 2, 152.
7
Schlegel begins this aphorism with the claim that Romantic irony is philosophical, not rhetorical.
Here Schlegel is making a clear distinction between the earlier, rhetorical uses of the term and
his own idea of a higher form of irony (Romantic irony). The two forms are, of course, related,
but they are not the same, and this distinction is essential. Schlegel repeats this new,
philosophical view of irony in a later aphorism which says, Complete absolute irony ceases to
be irony and becomes serious.32 Schlegel repeatedly emphasized the difference between the
rhetorical types of irony and his own ideas on the subject.
The aspect that elevates Romantic irony to the realm of the philosophical is not
mentioned until the final sentence of the aphorism. According to Schlegel Romantic irony must
incorporate transcendence. The interior aspect provides for a transcendent understanding, and
this is what fundamentally separates Romantic irony from irony in general. This transcendence
is amplified in a lengthy aphorism from the Athenaeum (no. 238), which says in part,
But we should not care for a transcendental philosophy unless it were critical,
unless it portrayed the means of production along with the product, unless it
embraced in its system of transcendental thoughts a characterization of
transcendental thinking.33
This implies that in order to become a satisfying transcendental philosophy a philosophy must
evidence the kind of levels that are also characteristic of Romantic irony.
Transcendental buffoonery is another essential element of Romantic irony, as it directs
attention to the simultaneous creation and undermining of the work (or, as mentioned in the
sentence quoted above, it must portray the means of production along with the product). The
creation of the work must be established as a believable entity and then exposed as artifice. In an
aphorism from the Philosophische Lehrjahr, Schlegel states that Irony is a permanent
parabasis.34 Parabasis was developed in Greek comedy and consisted of an interruption of the
action, usually in the middle of the play, in which the authors spokesman addressed the
audience directly, often either speaking of the authors personal circumstances or attacking the
32
Die vollendete absolute Ironie hrt auf Ironie zu seyn und wird ernsthaft, Friedrich Schlegel, Literary
Notebooks 1791-1801, edited by Hans Eichner (Toronto: University of Toronto Press, 1957), 82.
33
Dialogues, 145. So wie man aber wenig Wert auf eine Transzendentalphilosophie legen wrde, die nicht
kritisch wre, nicht auch das Produzierende mit dem Produkt darstellte, und im System der transzendentalen
Gedanken zugleich eine Charakteristik des transzendentalen Denkens enthielte. Schlegel, Kritische Ausgabe, vol. 2,
204.
34
Die Ironie ist eine permeanente Parekbase. Furst, 28.
8
faults of various contemporary personages.35 A more modern example of parabasis can be
found in Mel Brookss film Blazing Saddles, in which the dramatic frame is constantly
broken.36 By breaking the dramatic frame Brooks incorporates transcendental buffoonery; the
audience is made aware of the film as an artistic creation, and thus both the creation and
undermining of the work are evident.
Framework for this study
Schlegels thoughts on Romantic irony provide a framework for this study. Based on his
reflections on the subject, we may assert that Romantic irony is an aesthetic and epistemological
concept that provided nineteenth-century thinkers and artists a method of transcending the
contradictions of the perceivable world through paradox. Each artwork exists in a cultural world
and also creates a defined artistic world of its own. The cultural world actually pre-figures the
work; the elements of the specific world of the work are determined by the work itself. One
Romantic conception of the world is predicated on the idea that chaos determines the course of
events in the universe. This chaos, abundantly fertile, constantly gives rise to new creations.
These new creations, however, are themselves finite. The Romantic ironist must incorporate the
finite nature of the work by including the creation and destruction of the work in the work
itself.37 Locating the contradictions and paradoxes in the work is a means of identifying the
elements of the creation and destruction in it. In order to pursue the irony of the work, therefore,
the critic must first identify the perceivable world of the work, through an examination of
biographical and cultural context. Contradictions in the world of the work bring outside ideas
into the perceivable world of the work. Such contradictions include the presence of multiple
structural tropes and cultural functions.
Paradoxes specific to the work are, in a sense, the counterpart of the contradictions of the
perceivable world. While the contradictions of the perceivable world are created by expanding
the world of the work, paradoxes specific to the work are identified through a detailed look at the
work itself. As there are contradictions in the world, there are also paradoxes in the artistic work
35
Mellor, 17.
36
Ibid.
37
Ibid., 4-5. For a discussion of the subject from a Neo-Platonic point of view see Abrams, Natural
Supernaturalism.
9
itself. These two ideas are related in that they examine opposite aspects of the same work.
Paradoxes can be manifested in both style and forms (as well as in genre, which is synthesized
from style and from within a set of functional norms).
Paradox often reveals persona by appearing to represent the self-reflective experience. 38
Romanticism in art depended upon a created persona who gives a particular identity to the
speaker in the work. The paradox foregrounds this persona by drawing attention to the
contradiction between the act of creation and critical reflection. The presence of the persona
causes the audience to be aware of and to reflect critically on the act and very nature of creation.
Paradox forces a consciousness of the self as opposed to the work. This is the antithesis of the
suspension of disbelief. It makes the audience conscious of the artificial nature of the work
rather than accepting of it, and therefore a sense of distance emerges between the work and the
audiences perception of the work. In this way the work manifests Romantic irony.
As a Greek scholar, Schlegel was familiar with the concept of persona. According to
Schlegel persona was crucial to, and inseparable from, Romantic irony. He linked persona to the
idea of irony through the idea of permanent parabasis. This technique of interruption, according
to Schlegel, was similar in method to that of the personae of Cervantes, Diderot, Sterne, and Jean
Paul.39
All Romantic irony thus creates a perceptual distance from the artwork through paradox
and by that means leads to transcendence. Romantic irony finally incorporates transcendence of
the contradictions of the perceivable world. As a consequence of the paradoxes found in the
work the understanding of the world changes. Transcendence is achieved when the paradoxes,
while yet remaining unresolved, inspire a new understanding of the world, encompassing
contradiction or paradox. The ultimate aim of Romantic irony, then, is to transcend rather than
to resolve the contradictions and paradoxes of the finite world.
38
The word persona is derived from the Latin term for a theatrical mask and originally referred to a
device that transformed actors on stage; see Robert C. Elliot, The Literary Persona (Chicago and London:
University of Chicago Press, 1982), 20-21. In music the question of persona was first raised by Edward T. Cone,
The Composers Voice (Berkeley and Los Angeles: University of California Press, 1974).
39
Peter Firchow, introduction to Friedrich Schlegels Lucinde and the Fragmants, 29.
10
CHAPTER 2
ROMANTIC IRONY IN MUSIC
Discussions of irony in music have seldom approached the epistemological and aesthetic
idea that is essential to Romantic irony properly conceived. Rather, these discussions usually
merely center around more common types of irony. Mark Evan Bondss article Haydn,
Lawrence Sterne, and the Origins of Musical Irony discusses eighteenth-century irony in both
literary and musical works. Jon Finsons The Intentional Tourist: Romantic Irony in the
Eichendorff Liederkreis of Robert Schumann, in spite of the title, is not concerned with
Romantic irony as an aesthetic and epistemological issue; rather Finson confines himself to an
explanation of how he thinks verbal irony functions in Schumanns songs. Charles S. Brauners
article, Irony in the Heine Lieder of Schubert and Schumann, is based on Wayne Booths
concepts of covert and overt irony; Brauner does not mention Romantic irony and does not
discuss irony in an aesthetic or epistemologicial context. Berthold Hoeckner, in his article
Schumann and Romantic Distance, at first seems to come close to Romantic irony but instead
treats distance literally, largely ignoring any aesthetic and epistemological aspects.40
Methodology
This dissertation applies Romantic Irony as a critical hermeneutic approach to the string
quartets of Felix Mendelssohn Bartholdy and Robert Schumann. There are, of course, multiple
ways to approach this body of work, but this particular way offers insights that cannot be
obtained from other methods. There can be no formulaic methodology for identifying Romantic
irony in a musical work. Consequently the primary criterion of any methodology for this
investigation must be the flexibility to adapt to different situations. Certain fundamental
objectives, however, will remain constant, although in each case the subsidiary ones will differ.
The procedure here consists of examining each work in a series of steps designed to
engage the points introduced in the first chapter: 1) identify the perceivable world of the work;
2) recognize the contradictions of that world; 3) identify the works persona; 4) distinguish the
40
Charles S. Brauner, Irony in the Heine Lieder of Schubert and Schumann, The Musical Quarterly 67
(1981), 261-81; Mark Evan Bonds, Haydn, Lawrence Sterne, and the Origins of Musical Irony, Journal of the
American Musicological Society 44 (Spring 1991), 57-91; Jon Finson, The Intentional Tourist: Romantic Irony in
the Eichendorff Liederkreis of Robert Schumann, in Schumann and His World, edited by R. Larry Todd (Princeton,
N. J.: Princeton University Press, 1994), 156-70; Bertold Hoeckner, Schumann and Romantic Distance, Journal of
the American Musicological Society 50 (Spring 1997), 55-132.
11
paradoxes specific to the work; 5) explain how the preceding steps lead to transcendence, or
how a new understanding of the world is reached through the works paradoxes.
These general steps serve as a useful guide for engaging the works in concrete ways. It is
true that the nature of art itself means that the critic who would take such steps necessarily stands
on shifting ground, but unless one stands somewhere there is no way of making sense out of any
problem. The goal here is not to set up a Procrustean formula that would force all the quartets
into the same mold but to interpret each work from a variety of viewpoints, letting each work
itself determine the degree of emphasis given to each step and the specific questions raised in the
methodological approach.
The Perceivable World of the Work
The identification of the perceivable world of the work includes the biographical and
cultural context of the piece in question, such as where the composer was and what he was doing
at and prior to the time of composition, and what philosophical, social, literary, musical, and
aesthetic ideas formed the environment for the work. Exploration of the cultural history also
includes discussions of Romantic musical writings and reception history, especially in regard to
what contemporary critics thought of the music.
Musical conventions, such as conventions of scoring, formal structure, tonal plan,
rhythm, and melodic style also form part of the perceivable world of the work. Lawrence
Kramer identifies these as structural tropes.41 The composers treatment of musical
conventions (including the avoidance of them) will also play a role in the investigation of
Romantic irony.
The Work
A second avenue of approach consists of a detailed hearing of the music itself. Salient
features of each work will be pointed out, based on a thorough musical analysis. Diagrams of
the structure of each movement serve to clarify forms. The aim is to lay the groundwork for the
following discussions of the contradictions in the world of the work and paradoxes specific to the
work.
41
Lawrence Kramer, Music as Cultural Practice 1800-1900 (Berkeley: University of California Press,
1990), 10.
12
Contradictions in the World of the Work
The next objective involves identifying contradictions in the world of the work. The
possibility for contradictions in the world is created through the expansion of that world by the
work. A contradiction would be created by the presence of multiple structural tropes, cultural
functions, or political assumptions. Another type of contradiction might involve textual
inclusions, such as texts set to music, titles, epigrams, programs, notes to the score, and even
expression markings.42 A similar effect might concern assumptions made about genre. Any
particular genre raises certain expectations, and these expectations are often mutually exclusive.
If a work brings more than one genre into its world, then it raises conflicting expectations, and a
contradiction results. Therefore, if other genres are explicitly referred to in a string quartet, then
there will be a contradiction in the world of the work.
Persona
Persona gives a particular identity to the fictive voice in the music that the composer
has created. This allows the demonstration of the distinction between the act of creation by the
composer and critical reflection by the listener, for the intervention of the persona causes the
listener to be aware of and to reflect critically on the nature and act of creation. Such critical
reflection constitutes an essential component of Romantic irony, in that it draws attention to both
the means of the works creation (through the perceivable world) as well as the works dis-
integration (through the contradictions).43
The persona is not only the fictive voice in the musical work, however, but also
experiences the transcendence necessary to Romantic irony. The persona both creates Romantic
irony, appearing to manipulate the events by which it is manifested, and is also the one who
experiences the transcendence that is its outcome. The personas self-conscious awareness and
reflection is an integral aspect of Romantic irony.
In order for the persona to reflect critically on the act of creation, it must be able to frame
the paradoxes specific to the music. These paradoxes, in turn, draw attention to the
contradictions in the world of the work. One method of manifesting critical reflection occurs
when the persona comments on the music. Such commentary can, for example, take the form of
42
Ibid., 9.
43
There are any number of methods that can be used to determine persona in a musical work. For
extensive treatment of this topic see Edward T. Cone, The Composers Voice.
13
extra-generic references that identify or draw attention to the contradictions in the perceivable
world.
Paradoxes Specific to the Work
Musical analysis of a specific work reveals the paradoxes that must be inherent in a
particular piece in order for it to manifest Romantic irony. Examples of such an analytical
paradox could be a deviation from a structural trope, such as a tonal relationship that does not
follow standard harmonic practice, or a departure from conventions of form. The inclusion of
formal structures or types of movements not usually found in a string quartet and ambiguity
concerning the formal structure are also possible analytical paradoxes.
As Lawrence Kramer suggests, textual and citational inclusions may help to locate
paradoxes specific to the work. Citational inclusions might be titles that connect a musical work
with a literary or visual image, place, or historical moment. Musical allusions to other
compositions or allusions to texts through the quotation of associated music are also citational
inclusions.44
Transcendence
Transcendence is a state whereby a new understanding of the world is reached through
the paradoxes in the work, such that the contradictions of the world appear in a different light. In
order to achieve transcendence, the contradictions of the perceivable world are incorporated into
a new understanding of the world of the work. This new understanding, however, does not
resolve the contradictions or paradoxes. For a work to manifest Romantic irony the paradoxes
must remain unresolvable, but in such a way that a new understanding of the work and the world
is gained.
44
Ibid., 10.
14
CHAPTER 3
ROMANTIC IRONY IN FELIX MENDELSSOHN BARTHOLDYS

STRING QUARTETS
String Quartet in A Minor, op. 13

In 1825, two years before the composition of Mendelssohns String Quartet in A minor,
op. 13, the young composers family moved to Leipzigerstrasse 3 in Berlin. The estate, with its
many buildings and extensive gardens, became more than just a place for the family to live.
According to Werner it was considered by the family almost a family shrine, representative of
their status in the world.45 The salons held at Leipzigerstrasse 3 were meetings of literary and
scientific minds, a forum in which current religious, legal, political, and social problems were
discussed, and a musical center.46
These salons were frequently attended by some of the most influential thinkers of the
time, including the brothers Wilhelm (1767-1835) and Alexander (1769-1859) von Humboldt,
and E.T.A. Hoffmann (1776-1822). The Humboldt brothers had a long acquaintance with the
Mendelssohn family. Moses Mendelssohn (Felixs grandfather) and the Humboldt brothers often
spent time at Mendelssohns home discussing philanthropy and philosophy.47 At the age of
nineteen Wilhelm von Humboldt moved to Berlin, and one of the individuals with whom he
spent time was Brendel Veit (later Dorothea Schlegel), Felixs aunt, who later married Friedrich
Schlegel. 48 Wilhelm became known for his ideas on history and education. Alexanders
connection to the Mendelssohn family, however, was closer. He studied physical geography and
meteorology and was responsible for making the connection between altitude and temperature.
In the late 1820s Alexander constructed a hut on the grounds of Leipzigerstrasse 3, in which he
45
Eric Werner, Mendelssohn: A New Image of the Composer and His Age, translated by Dika Newlin (N.
Y.: The Free Press of Glencoe, 1963) 71.
46
Ibid., 72.
47
J. Lwenberg, Robert Av-Lallemant, and Alfred Dave, Life of Alexander von Humboldt, Karl Brutins,
ed., Jane and Caroline Lassell, trans. (Boston and N. Y.: Lee and Shepard, 1873) I: 22-23.
48
Paul R. Sweet, Wilhelm von Humboldt: A Biography (Columbus, Ohio: Ohio State University, 1978) I:
16. At the same time she adopted the name Dorothea.
15
made hourly observations on the variation in the inclination of the needle and periods of
extraordinary disturbance in the earths magnetism. 49
The German author and music critic E. T. A. Hoffmann, who arrived in Berlin in 1814,
was a major contributor to the concept of Romanticism. As an author he is known for his stories,
which intertwined reality with fantasy, leaving the reader unsure which is which. His first book,
Fantasiestcke in Callots Manier, had a foreword by Jean Paul.50 Hoffmann was a composer as
well as an author and his opera Undine had its first performance at Berlins Royal Theater on 3
August 1816.51 Hoffmann may well have attended events at the Mendelssohn home. In 1821,
one year before his death, Hoffmann had an engraving of himself made by Wilhelm Hensel, who
seven years later married Felixs sister, Fanny.52
Another important influence was Jean Paul Richter. Although he did not attend a salon at
the Mendelssohn home, all of the Mendelssohn children read that authors works. According to
Werner, Felix was especially intrigued by Jean Pauls vacillation between opposite emotions.
Jean Paul remained influential throughout the composers lifetime; Mendelssohn continued to
quote from Jean Pauls works even in later years.53
Felix Mendelssohn Bartholdys String Quartet op. 13 was composed in October 1827.
That the song and the quartet were meant to be associated is made clear in one of Mendelssohns
letters to Adolf Lindblad:
The song that I sent with the quartet is its theme. You will hear it speak
with all its notes in the first and last movement, in its sentiment in all four
movements. If at first it doesnt please you which might happen
then play it a second time, and if you still find something Minuet-like in it
then think of your stiff and formal Felix with his cravat and valet. I
thought I would express the song well, and it sounds like music to me.54
49
Lwenberg, II: 147.
50
R. Murray Schafer, E.T.A. Hoffmann and Music (Toronto: University of Toronto Press, 1975), 25.
51
Ibid., 26.
52
Ibid., [xiv].
53
Werner, 80-1.
54
Friedhelm Krummacher dates this letter from the first half of 1828 in Mendelssohn -- der Komponist:
Studien zur Kammermusik fr Streicher (Munich: Wilhelm Fink, 1978), 513, n. 85; Krummacher quotes the letter on
p. 87: Das Lied was ich dem Quartette beifge ist das Thema desselben. Du wirst es im ersten und letzten Stcke
mit seinen Noten, in allen vier Stcken mit seiner Empfindung sprechen hren. Wenn es Dir das erstemal missfllt
was kommen kann, so spiele es zum zweiten male und wen Du etwas menettrartiges darin findest, so denke an
16
According to the composer, the quartet shares the emotional content of the song Frage, written
by Mendelssohn earlier in the same year and published in 1830 as op. 9 no. 1.55 The connection
Mendelssohn explicitly made between the song and the string quartet indicates that the
perceivable world of op. 13 contains the genre expectations of both the string quartet and the
song.
Mendelssohn wrote both the text and the music of Frage in 1827 at Pentecost.56 In the
first edition and in the collected edition of Mendelssohns works by Rietz the songs text is
attributed to Voss.57 Sebastian Hensel, however, writes that Mendelssohn spent time in 1827
at Sakrow, an estate belonging to the Magnus family, near Potsdam. There he composed the
words and music of a song which afterwards became the theme of the A minor quartet.58
Further, A. B. Marx, who at this time was very close to the composer, in a review of
Mendelssohns twelve songs, op. 9, wrote The poems are by various authors. One does not
always want to believe the headings; for example, the first poem is certainly not by H. Voss, but
rather by the composer himself.59
The structural tropes in the perceivable world of any quartet consist of the conventions of
the string quartet, including its scoring, normative forms, and characteristic texture. Charles
Rosen points out that there are significant harmonic implications in the use of four voices. The
presence of four voices allows for the presentation of a triad, which establishes the harmony, and
a fourth voice to create dissonance against the triadic harmony.60 The string quartet in
Deinen steifen und formellen Felix mit der Halsbinde und dem Diener. Ich dchte ich sprche aus dem Liede wohl,
und es klint mir wie Musik.
55
R. Larry Todd, Mendelssohn: A Life in Music (Oxford: Oxford University Press, 2003), 176.
56
Sebastian Hensel, The Mendelssohn Family 1729-1847 (N. Y.: Harper and Brothers, 1882) 1:133.
Pentecost that year was on Sunday, 3 June.
57
Eric Werner believed the text was composed by Gustav Droysen, using the pseudonym Voss. See
Werner, 123. The reference to Voss is not to the well-known German translator and poet J. H. Voss (1751-1826).
58
R. Larry Todd, Mendelssohn: A Life in Music, 176.
59
Die Gedichte sind von Verschiednen. Nicht immer mchte man den ueberschriften glauben; z. B. das
erste Gedicht ist gewiss nicht von H. Voss, eher vom Komponisten selbst. A. B. Marx, Berliner Allgemeine
Musikalische Zeitung, 3 July 1830.
60
Charles Rosen, The Classical Style (N. Y. and London: W.W. Norton, 1972), 137.
17
Mendelssohns time was conventionally a four-movement work, with the first and last
movements often in sonata form and employing rapid tempos. The inner movements usually
include a slow movement and a faster, dance-derived movement.
The characteristic texture of a string quartet is also an important element of the
perceivable world of the work. From at least the time of Joseph Haydns op. 33 quartets, works
in the genre particularly exploited a texture that Goethe referred to, in a letter to Mendelssohns
teacher Carl Friedrich Zelter (1758-1832), as resembling four intelligent people having a
conversation.61 Conversational texture exploits the ensemble nature of the string quartet, as
motivic material is exchanged among the instruments in such a way that no one instrument is
more important than another. Other textures, however, are also common in string quartets,
including fugue, aria, and chorale. Both contrapuntal and aria-like textures appear in op. 13.
Frage
The Work
The opening notes of Mendelssohns song Frage, op. 9 no.1 (see Example 3.1), are
included on the manuscript title page of op. 13, and its text appears as an epigram to the quartet.
The text of the song is
Is it true? Is it true?
That you constantly wait for me there in the arbor
near the wall of vines,
and also ask the moonlight and the little star
about me?
Is it true? Speak!
What I feel, that only she can comprehend
who sympathizes with it
and who remains eternally true to me.62
Although the sentiment of the text is not consistent with to that of the other songs of op. 9, Frage
is structurally and stylistically unlike any other text Mendelssohn set, and it certainly is very
different from the other works in op. 9. Lieder conventionally have clearly structured texts that
are strophic, metered, and rhymed, and this is true of the other songs of op. 9. Frage, however,
61
Letter of 9 November 1829, Goethes Briefwechsel mit Zelter, ed. Mary Sabia (Leipzig: Wolkenwander,
1923), 415.
62
Ist es Wahr? Ist es Wahr?/ dass du stets dort in dem Laubgang,/ an der Weinwand meiner harrst/ und den
Mondschein und die Sternlein auch/ nach mir befragst?/ Ist es Wahr? Sprich!/ Was ich fhle das begrieft nur,/ die es
mitfhlt,/ und die treu mir ewig bliebt.
18
has a strongly prose-like style; it is neither strophic nor metered, and it does not rhyme. Further,
the line Is it true? Speak! is not merely a rhetorical question but a dramatic address that
demands an answer.
19
EXAMPLE 3.1: Felix Mendelssohn Bartholdy, Frage, op. 9 no.1.
20
The text of Frage prevents the musical setting from having traditional four-bar phrases.
The short opening motive (Ist es Wahr?) is flexible and particularly adaptable to
developmental treatment in a manner characteristic of instrumental music. The music unfolds in
unequal phrase lengths, varying from one to seven measures. The opening rhythm and pitches of
Frage are found explicitly in the first movement of the string quartet (see Example 3.2). The last
25 measures of the final movement consist of the song (see Example 3.3).
EXAMPLE 3.2: Felix Mendelssohn Bartholdy, String Quartet op. 13, mvt. 1, mm. 13-17.
21
22
Adagio and Allegro Vivace
The first movement of op. 13 is in sonata form and opens in A major with an eighteen-
measure introduction marked Adagio (see Diagram 3.1). As is shown in Example 3.2, this
introductory section quotes (mm. 13-17) the opening notes of Frage, the motive that sets the text
Ist es Wahr? The final measure of this introduction presents a transitional passage in thirty-
second notes in the viola, leading to the main body of the movement, which begins in m. 19 in A
minor with a new tempo marking of Allegro vivace. In m. 23 material derived from the dotted
rhythms of the opening measures of op. 9 no. 1 appears in the viola, then imitatively in the
second violin (m. 25), and in the cello (m. 26). This becomes the principal thematic material (P)
at m. 27 in the first violin. The P material is a very brief two-phrase pair with a half cadence in
m. 28 and an imperfect authentic cadence in m. 31. A repetition of the P material occurs in m.
38, followed by a precursor of the secondary thematic material at mm. 43-44. The rhythmic
allusion to the song continues in the brief transition (beginning in m. 47).
DIAGRAM 3.1: Felix Mendelssohn Bartholdy, String Quartet op. 13, mvt. 1
Time Thematic
Division Tempo Harmony mm. Comments
Signature material
O Adagio A 1
quotes
13-17 opening of
Frage
thirty-
second
Transition 18
notes in
vla.
Section 1
Allegro
(expo, part 4/4 a 19
vivace
1)
opening
pre-P in
23 rhythm of
vla.
Frage
pre-P in in
25
vln.2 imitation
23
Time Thematic
Signature material
pre-P in in
26
vlc imitation
P in vln. 1 27
P 38
pre-S 43-44
rhythmic
Transition 47 allusion to
Frage
Section 2
(expo, part S1 E 51
2)
S2 67
S3 77
S3 81
thirty-
second
92
notes in
vla.
Section 3 imitative
pre-P a 93 material
(develop) from m. 19
expanded
pre-P 93-107 version of
mm. 19-26
P G 118
24
Time Thematic
Signature material
Section 4
P a 151
(recap)
S1 164
S2 180
S3 198
S3 203
series of
208-14
vii
Coda a 226
The secondary key area is reached in m. 51 in E major with the energetic secondary
thematic material (S1) in the first violin. This had already appeared in mm. 43-44, however,
which blurs the clarity of the function at m. 51. This harmonic choice is actually a somewhat
unconventional treatment of the sonata form tonal plan. The movement is in sonata form, with
an introduction in A major (the key of Frage), but the principal key area of the body of the
movement is A minor. The expected secondary key area in a conventional sonata form would be
the relative major of A minor, C major, or, less commonly, the minor dominant, E minor. The
secondary key area of this sonata form, however, turns out to be E major, the dominant of A
major, the key of the introduction. The secondary key area thus relates the move to greater
tension to the slow introduction in A major more strongly than to the principal area in A minor.
Further, even in sonata forms in A major the arrival of E major as dominant is commonly
deflected to E minor. The move directly to the major dominant is a less compelling way to
clarify the departure from the tonic, since it does not make it as clear that the new passage is in
25
rather than merely on the dominant. It is more typical for the secondary key area at least to begin
in the minor dominant (in this case E minor), because this cancels the leading tone (in this case
G#) and clearly negates the original tonic key. The move to E major in an A-minor sonata form
almost forces the sense that this is the dominant of A minor rather than a new key. The
secondary key area is conventionally the area of strongest contrast, but in this case the
modulation produces ambiguity in regard to the defining harmonic move of the first part of the
form.
A more lyrical variation of the secondary thematic material, S2, appears in the second
violin in m. 67. In m. 77 a boisterous treatment of the S material appears in the upper ranges of
the cello (S3), followed by a repetition of S3 in the first violin in m. 81. The exposition ends in
m. 92 with the same thirty-second notes in the viola that led to the beginning of the exposition.
The development section begins in m. 93 in A minor with the imitative material
introduced in m. 19. Measures 93 through 107 are an expanded version of mm. 19-26. The
effect is that of hearing a repetition of the exposition instead of the beginning of a development
section and the listener only discovers after several measures that the exposition does not
actually repeat. The P material reappears in G minor in m. 118. The P material, with its dotted
rhythms and descending motion, continues through the development.
The recapitulation takes place in m. 151, with the P theme in A minor. S1 appears in m.
164, S2 in m. 180, and S3 in the first violin in the second violin m. 198 in the viola. Just as in the
exposition, S3 is repeated in the first violin (mm. 203). The recapitulation thus follows the
events of the exposition. A series of diminished-seventh chords (mm. 208-14) leads to the coda,
which begins in m. 226.
Adagio non lento
The second movement, labeled Adagio non lento, is in F major and opens with an
introduction (see Diagram 3.2). The cantabile introduction is sedate, leading to the somber fugue
theme at m. 19, in D minor. This quiet theme is heard first in the viola, followed by the second
violin, first violin, and finally the cello (mm. 25). At m. 48 a new section appears, marked poco
pi animato. This section is particularly unexpected after the counterpoint that precedes it,
because it opens with seven measures of homophony; expressive and melodic material is heard
in the first violin with accompaniment in the three lower instruments. At m. 52 the texture
returns to one of imitation, now based on the inversion of the earlier fugato material, set against
26
running sixteenth notes, leading to a pedal on the dominant of D minor at m. 78. This supports a
return of the fugato in its recta form, heard in the first violin, viola and second violin. At m. 89
the first violin has two measures of solo material marked ad lib., leading directly to the coda,
marked Tempo I (m 92). This is a repetition of the cantabile introduction, again in F major. The
initial fugue subject appears, starting in diminution, in the viola at m. 108, and in fragments in
the second violin at m. 109, and cello at m. 110, and in its original note values in the first violin
at m. 113. The movement proceeds to a quiet ending, with all the instruments in their upper
ranges at m. 123.
DIAGRAM 3.2: Felix Mendelssohn Bartholdy, String Quartet op. 13, mvt. 2.
Time Thematic
Signature material
Adagio non
O 3/4 F 1-18
lento
fugato
Fugato d 19
theme
4/4 45
Homo-
poco pi
48-51 phonic
animato
texture
fugato
material 52 imitation
inverted
V/d 78
fugato
78-81
theme
4/4 88
solo vln. 89 ad. lib.
27
Time Thematic
Signature material
repetition
Coda Tempo I F 92
of O
fugato in
108
theme diminution
fragments 109-10
fugato
113
theme
Intermezzo: Allegretto con moto

The third movement is an Intermezzo in composite ternary (ABA) form (see Diagram
3.3). The first section (A) is a rounded binary form in A minor with a tempo marking of
Allegretto con moto. The stately march-like thematic material appears in the first violin over
pizzicato eighth notes in the three lower parts. After the double bar (m. 8) the fragmented
thematic material remains in the first violin until m. 16, when a return of the opening thematic
material is heard in the second violin. The B section is also in rounded binary form, with a
tempo marking of Allegro di molto. This section is in A major in an elfin-scherzo style, with a
descending line of sixteenth notes separated by rests in the viola providing the theme (S). A
motive of repeated sixteenth notes appears in rhythmic imitation in mm. 40-43. Three measures
later the same rhythm (repeated staccato sixteenth notes) is found in the first violin, continuing to
the cadence. The A section ends with a cadence in the dominant at m. 50. After the double bar
(m. 51) the descending sixteenth-note melody reappears in the second violin, but eventually
moves through all the instruments. This section continues with a complete restatement of the
descending sixteenth-note line in the first violin in m. 84. After an eight-measure transition the
A section returns in A minor beginning in m. 116. In a conventional ternary form the return of
the A section is a literal repetition or decorative variation of the opening section. In this
movement, however, the final section includes material from the second section; this section
proceeds as a repetition of the first A section in the viola and cello until m. 142, where the
28
principal and secondary themes are juxtaposed in a section that shifts between A major and A
minor. At m. 150 the principal theme returns in A minor, and the movement ends with a perfect
authentic cadence in A minor in m. 163.
Time Thematic
Signature material
Allegretto rounded
A 2/4 a a 1-7
con moto binary
8 double bar
fragmented
b 9-15 opening
material
a 16
Allegro di rounded
B c A 27
molto binary
rhythmic
40-43
imitation
36
V/D 50
51 double bar
rhythmic
52-83
imitation
complete
b 54 restatement
in vln. 1
Transition 108-115
29
Time Thematic
Signature material
A a a 116
a 120
material
from
a A/a: i 138 sections A
and B
juxtaposed
c 143
a 146
c 148
a 150
Presto
The final movement begins with a dramatic, recitative-like introduction (see Diagram
3.4). This agitated section, undergirded by diminished-seventh chords in D minor, leads to the
principal thematic material (P) in A minor in m. 29. The P material is stated three times (cf. mm.
37 and 45). The transition begins in m. 51 with a descending eighth-note rhythmic passage.
Principal thematic material from the first movement appears in m. 71. This material, like the P
material from this movement, is stated three times. The secondary thematic material appears in
m. 90. The development section begins in m. 105 with imitation of a theme presented in the first
violin. This theme is marked ad libitum, an unusual instruction in a four-voice fugal texture.
The theme is imitated a fifth lower by the second violin in m. 108, and then by the viola in m.
30
111. In m. 164, in E minor, the fugato theme from the second movement reappears, also treated
imitatively. The recapitulation begins in m. 239 with the diminished-seventh chords in D minor
from the beginning of the movement. The P material returns in A minor in m. 251, with the S
material in m. 289. In m. 333 the theme from the second movement reappears in the first violin,
with the same agitated diminished-seventh chords found in the introduction. Directly following
this is a seventeen-measure section (mm. 333-49) of fragments of the theme from the second
movement, with espressivo and a piacere quasi una fantasia directions for the first violin. The
second of these markings is unusual in a string quartet. A three-measure section in D minor
(mm. 365-67), marked Adagio non lento, has an unaccompanied solo for the first violin,
repeating the theme from the second movement. This is followed by a five-measure section in A
minor marked Recit., still unaccompanied (see Example 3.4). Such a passage is extrageneric in a
purely instrumental genre such as a string quartet, and it invokes the presence of a speaker. The
tempo marking Adagio come I in m. 373 marks the final section of the movement (See Example
3.4); this section, in A major, is a repetition of the introduction to the first movement. After a
ten-measure reprise of the introduction the entire second half of Frage is incorporated into the
final measures of this string quartet. Not only is the song quoted, it is given the direction
cantando. The movement ends in A major after multiple restatements of the music set to Ist es
Wahr?
31
Time Thematic
Signature material
Introduction Presto 2/2 O vii/d 1-28 recit.-like
Section 1 P a 29
(expo, pt. 1)
P 37
P 45
Transition T 51
P from
71
mvt. 1
32
Time Thematic
Signature material
Section 2 S 90
(expo, pt. 2)
Section 3 N in
105 ad lib.
(develop) imitation
N 108
N 111
fugato
theme in
e 164
from mvt. imitation
2
Section 4
O vii/d 239
(recap)
P a 251
S 289
material
from mvt. vii 333
2+O
material
from mvt. 333-49
2
material unaccopm.
Adagio
3/4 from mvt. d 365-67 solo for
non lento
2 vln. 1
4/4 a 368-72 Recit.
Adagio O from
3/4 A 373
come I mvt. 1
Frage 385 cantando
33
There were many contradictions in the world of the string quartet, and these
contradictions exist not only for op. 13 in particular but for all string quartets composed in
Germanic countries in the first half of the nineteenth century. The first set of contradictions
concerns those inherent in Romanticism itself. These contradictions include ambitions for the
future and a fascination with the past, an emphasis on both the individual and community, an
interest in rebellion and nostalgia for order and balance, selfconsciousness and a sense of
isolation, the assertion of human works and the longing for a divine presence.63
Another contradiction concerns the role of a string quartet itself. String quartets were
performed at social occasions, such as convivial music-making in the home as entertainment for
the players themselves or possibly for a domestic audience of close friends and family. At the
same time, string quartets were considered the epitome of serious professional music. They
were commonly considered to be a genre in which composers were able to compose music for
themselves rather than to appeal to the public. From the time of Haydn, string quartets were a
personal expression of the composer, in which he could express his most intimate thoughts,
confident that his audience would be intelligent enough to follow him.64 One contradiction in
the world of the string quartet as a genre therefore lies in the idea of music composed both for a
social diversion and as a personal expression of the composer.
Op. 13 was most likely first performed at a private musical salon in the Mendelssohn
home. The musical salons regularly held on Sunday afternoons played an important role in
Felixs development as a musician and composer, because they allowed the young composer to
hear his compositions immediately. His father, Abraham, was willing and able to buy
instruments and to hire extra musicians or the services of music copyists in order for the Sunday
musicales to take place.65 The novelist Paul Heyse, son of Felixs tutor and his third cousin,
described one of the gatherings at the Mendelssohn home:
63
John Warrack, Romanticism, The New Grove Dictionary of Music and Musicians (London and N. Y.:
Macmillan, 1980), 16:142.
64
Arnold Denis, ed., Chamber music, The New Oxford Companion to Music (Oxford and N. Y.: Oxford
University Press, 1983), 1:346.
65
Werner, 72.
34
An illustrious company filled the large room, yet there was hardly
anybody who was not, by his musical knowledge or talent, entitled to his
place. Every transient musical celebrity was flattered to be thought
worthy of a formal invitation to these Sunday morning concerts. Steady
guests were Professor Boeckh and old Steffens, once president of the
Berlin University. The hall was like a shrine, in which an enthusiastic
congregation absorbed every tone with the utmost attention.66
Prominent musicians who sometimes attended the Mendelssohn salon were the pianists Ignaz
Moscheles (1794-1870) and Ferdinand Hiller (1811-1885), the violinist Eduard Rietz (1802-
1832), the music critic A. B. Marx (1795-1866), and the Mendelssohns music teacher Karl
Friedrich Zelter (1758-1832). Others who attended occasionally were the composers Carl Maria
von Weber (1786-1826), Gaspare Spontini (1774-1851), Louis Spohr (1784-1859), and Giacomo
Meyerbeer (1791-1864).67
Op. 13 is a personal expression of the composer in that Mendelssohn had learned about
complex textures, including strict counterpoint and conversational style, through the quartet
medium as a study genre. Thirteen early pieces scored for first and second violin, viola, and
cello/bass were composed between 1821 and 1823 as exercises under the instruction of
Mendelssohns teacher Zelter.68 Although these works are not strictly conceived as string
quartets per seMendelssohn himself called them Sinfoniathey employed the quartet scoring
to provide an opportunity for the student composer to explore and perfect his grasp of Classic
textures and forms. In a sense, op. 13 is a direct successor to these earlier academic works.
The contradiction of op. 13 thus lies in that it is simultaneously a personal expression of
the composer and also meant to be heard by an audience. That Mendelssohn intended it to be
heard by more than just his family and relatively close friends is clear; it was published in
Leipzig in 1830. The publication of op. 13 brings another aspect of the contradiction to the
forefront, that of the emergence of op. 13 from the earlier academic pieces as a viable,
commercial quartet. Further, op. 13 was one of Mendelssohns first pieces published in Leipzig.
Earlier works, including op. 9, were published in Berlin. Leipzig had long been known as a
prominent musical city, a reputation enhanced in 1798 when the music publishing firm of
66
Ibid.
67
Ibid.
68
Karl-Heinz Khler, The New Grove Early Romantic Masters 2 (N. Y.: Norton, 1985), 253.
35
Breitkopf & Hrtel founded the Allgemeine musikalische Zeitung. This was a journal devoted to
articles on musical subjects, reviews of scores and concerts, intermixed with reports from other
cities. It became the model for the many journals that appeared in other cities.69 By choosing
Breitkopf & Hrtel in Leipzig, the composer was indicating that op. 13 was written for a
national, more diverse audience than if it had been published in Berlin.
Another contradiction in the world of the string quartet has to do with the idea of
Romanticism and the string quartet. As mentioned above, the string quartet generically
represented the ideal of abstract music. The distinctive traits of Romanticism, however, with its
emphases on the past, longing, nature, and the supernatural, could be seen as inherently unsuited
to such a medium. It must be regarded as contradictory that a non-programmatic genre should be
called upon to express the ideals of Romanticism, and indeed the genre was not much explored
by Romantic composers, who tended to prefer the intensely intimate song or piano solo piece, or
the power and color of the orchestra.
The most immediately evident contradiction in the perceivable world of this work is that
of genre. Mendelssohn drew his song op. 9 no. 1 into the world of the quartet op. 13. Because
the quartet is the quintessential genre of abstract chamber music, references to other genres
inevitably create tension with the idea of a string quartet. Thus the synthesis of song and quartet
is inherently a sort of contradiction. The more specific the reference is, the less compatible it will
be with string quartets as a genre; moreover, the more specific the reference, the less abstract the
string quartet. Therefore, this works reference to a specific song creates a contradiction between
the verbal content of Frage and the abstract nature of the string quartet.
Persona
Because Mendelssohn said The song that I sent with the quartet is its theme. You will
hear it speak with its notes in the first and last movement, in its sentiment in all four
movements, the persona of Frage must be determined before attempting to discover the persona
of op. 13. Music, especially music with text, often has more than one type of persona. Edward
T. Cone distinguishes between the complete musical persona (what has been referred to as
persona throughout this dissertation), and the vocal persona. The complete musical persona is
69
Leon Plantinga, Romantic Music: A History of Musical Style in Nineteenth-Century Europe ( N. Y. and
London: W. W. Norton, 1984), 10-11.
36
the identity of the fictive author in the work that the artist has created.70 In the case of Frage
Mendelssohn actually gave a name, H. Voss, to the fictive author of the poem.71 This is not a
reference to an actual person but to a fictive identity. The vocal persona, however, emerges from
the combination of the text and melody of the vocal line.72 The vocal persona of Frage is that of
a lover alone in a garden at night.
The complete musical persona of op. 13, however, is the vocal persona of Frage, i.e., the
lover alone. One indication of the identity of the persona of the quartet is Mendelssohns
statement, quoted above, that the sentiments of the quartet are the same as those expressed in the
song. The sentiments of Frage are expressed by its vocal persona. Because Mendelssohn stated
that the quartet expresses the sentiments of the song, the quartet is directly attributable to the
vocal persona of op. 9 no. 1.
In this instance, the obvious presence of the persona of the string quartet is brought to the
listeners attention in a manner that critically reflects on the work by focusing on the main
contradiction, the allusion to a vocal work in an instrumental work.
Textual and citational inclusions are specific to the work and act to limit the elements of
the world. Op. 13 has specific textual and citational inclusions that circumscribe the world of
this quartet. The most obvious textual inclusion is Frage, which appears as an epigram.
Mendelssohns letter to Lindblad states that the two works are related; they both express the
same sentiments. In addition, Julius Rietz, the editor of Mendelssohns complete works,
published Frage on the page facing op. 13 in the complete edition. As already mentioned, op. 9
no.1 is alluded to directly in the opening and closing movements of the quartet. These allusions
are themselves citational inclusions.
The ad libitum markings in the second and fourth movements create a paradox specific to
this work. In this context, this indication calls for the tempo to be treated flexibly by the first
violinst, reducing the other players to accompanists, and thus creates a paradox with the
70
Edward T. Cone, The Composers Voice (Berkeley and Los Angeles: University of California Press,
1978), 9-10.
71
Unfortunately the manuscript is not extant, so it is impossible to see this in Mendelssohns own
handwriting. He did, however, authorize the first published edition of op. 9.
72
Cone, 9-10.
37
ensemble nature of the string quartet. Given the emphasis on the conversational texture adjacent
to these passages, the incorporation of a texture and rhythmic approach commonly used in solo
performance is particularly incongruous.
The recitative marking found in the fourth movement (m. 386) is another example of
textual inclusion. This inclusion alludes to other vocal genres such as opera, oratorio, or cantata.
The use of recitative in this string quartet invokes the presence of the persona by implying a
vocal comment rather than a participant. Such allusions to vocal genres not only create paradox
within the work, they also focus attention on the issue of verbal expression and musical meaning.
Musical analysis reveals other paradoxes specific to op. 13. Outwardly, the movement
order of op. 13 follows the traditional four-movement plan, as described above. The first
movement, which is marked Allegro vivace, is a sonata-form movement with a slow
introduction. The second movement is Adagio non lento with an intensely chromatic fugue
followed by a coda. The only modification in movement plan occurs at the third movement, in
which the expected dance form is replaced by an Intermezzo. The final movement also adheres
to the conventional movement plan of a string quartet; it is in sonata form and the tempo is
Presto.
Closer musical analysis has revealed disruptions in the conventional tonal plan in the first
movement. The movement is in sonata form, with an introduction in A major (the key of Frage),
but the principal key area of the body of the movement is A minor. The expected secondary key
area in a conventional sonata form would be the relative major of A minor, C major, or the minor
dominant, E minor. The secondary key area of this sonata form, however, is E major, the
dominant of A major, the key of the introduction. As has been explained above, one paradox of
this movement, therefore, is that at the move to greater tension the secondary key area relates to
the slow introduction in A major rather than to the principal area in A minor. Because the
secondary key area conventionally contrasts to a movements tonic, this modulation creates a
paradox in regard to the defining harmonic move of the first part of the form. The move to E
major in an A-minor sonata form almost forces one to hear that this passage as a dominant
prolongation in A minor rather than a genuinely new key.
The third movement is an Intermezzo in composite ternary (ABA) form, the first section
(A) a rounded binary form in A minor, followed by the B section, also in rounded binary form, in
A major. In a conventional ternary form the return of the A section is a literal repetition or
38
decorative variation of the opening section. In this movement, however, the final section
incorporates material from the second section. At m. 138 the principal and secondary themes are
juxtaposed in a section that shifts between A major and A minor. Such juxtaposition of themes
is usually associated with a form (such as sonata form) that depends on the development of
material; these developmental procedures are not characteristic of ternary form movements. The
return of the secondary material is paradoxical, first, in that it appears in the second A section at
all, and second, because it imposes a developmental process in a non-developmental form.
Further, by the time the return of the S material occurs it is too late to follow up with a
restabilizing passage like a recapitulation, leaving the listener a bit at loose ends.
The introduction to the fourth movement is an instance of the personas commentary in
the work. Although it is not marked recitative, the movement opens with an unmistakably
dramatic, recitative-like section, which is followed by a sonata form. The comment, in the form
of recitative as an introduction to sonata form, is itself paradoxical for three reasons. The first is
that the introduction is clearly an extrageneric reference, not usually found in a string quartet.
The second concerns the oddity of commenting on a movement that has not yet begun, and the
final paradox is the existence of the comment in a form (in this case sonata) that does not lend
itself to such things.
Another paradox also appears with the introduction of the fourth movement, which
begins in the wrong key, D minor (see Diagram 3.4). The previous movement ended in A
minor, and the principal thematic material of the fourth movement is also in A minor. The
introduction to the fourth movement, however, is in the subdominant of A. The move from D
minor to A minor has the effect of a move from the tonic to its dominant, i.e., clouding the
feeling of A minor as tonic at the beginning of the finale.
At the end of the fourth movement of the quartet (see Example 3.3) the first violin repeats
the opening motive followed by several measures of Frage, marked Cantando. This is not
merely a quotation from Frage but rather the culmination of the quartet in the music of the song.
These allusions to vocality in the quartet not only create paradox but specifically focus attention
on the issue of vocal/verbal expression, which sets up a consideration of the relations of text to
musical meaning.
39
Transcendence
Contradictions in the world of Mendelssohns op. 13 are perceived in a new light through
understanding the works paradoxes. The paradoxes emphasize the nature of the connection
between the song and the string quartet, and lead to a new understanding of the world of the
work.
Although it is not uncommon to find quotations of songs in string quartets, in most
examples the song is quoted at the beginning of the quartet or of a movement, becoming the
theme of the work.73 In op. 13, however, Mendelssohn begins with a motivic fragment of the
song, and the song itself is not stated until the very end of the quartet.
The quartet is not, as might be expected, about the song; rather it expresses the
emotional/musical experience that culminates in the song. This resonates profoundly with
Mendelssohns aesthetic understanding of musical content and verbal expression. Marc-Andr
Souchay asked Mendelssohn about the meanings of some of his Songs without Words.
Mendelssohn responded in a frequently quoted letter of 15 October 1842:
There is so much talk about music, and so little is said. I believe that
words are not at all up to it, and if I should find that they were
adequate I would stop making music altogether. People usually
complain that music is so ambiguous, and what they are supposed to
think when they hear it is so unclear, while words are understood by
everyone. But for me it is exactly the reverse, and not only with
regard to an entire speech, but also with individual words. These, too,
seem to me so ambiguous, so vague, so easily misunderstood in
comparison with good music, which fills ones soul with a thousand
things better than words. What the music I love expresses to me are
thoughts not too indefinite to be put into words, but rather too definite.
Thus, I find in all attempts to put these thoughts in to words
something correct, but also always insufficient, something not
universal; and this is also how I feel about your suggestion. This is not
your fault, but rather the fault of the words which simply cannot do
any better. If you ask me what I was thinking of I will say: just the
song as it stands there. And if I happen to have had a specific word or
words in mind for one or another of these songs, I can never divulge
them to anyone, because the same word means one thing to one person
and something else to another, only the song can say the same thing,
can arouse the same feelings in one person as in another, a feeling
which is not, however expressed, by the same words.
73
Examples of such string quartets would be Beethovens hymn of a convalescent in op. 131, Schuberts
Death and the Maiden quartet, and Beethovens Razumovsky quartets.
40
Resignation, melancholy, the praise of God, a par-force hunt: one
person does not think of these in the same way as someone else. What
for one person is resignation is melancholy for another; to a third
person, neither suggests anything truly vivid. Indeed, if one were an
enthusiastic hunter, for him the par-force hunt and the praise of God
would come down to pretty much the same thing, and for the latter the
sound of the horns would truly be the proper way to praise God. We,
on the other hand, would hear a par-force hunt, and if we were to
debate with him about it we would get absolutely nowhere. The words
remain ambiguous, but we both understand the music properly.
Will you accept this as an answer to your question? It is at any rate
the only one I know how to give, though these, too, are nothing but
ambiguous words.74
According to Mendelssohn music has definite and specific meaning, while words added
to music function as a response that musically expressed meaning. The song was composed
before the quartet, however, the music, rather than the words, is the artistic focus of the work.
The fictive persona Voss identified in op. 9 no. 1, therefore, gives one verbal response to the
feelings that emerge at the end of op. 13. Mendelssohn is clearly reticent to commit himself to
explaining in words the meaning of his music. The text of Frage, however, represents a
response to the songs own music, and this, in turn, is the music that emerges out of the process
of the quartet as a whole. Given Mendelssohns strong feelings concerning the relationship of
music and text, his use of a pseudonym is entirely logical. The composer would not want to
imply that the verbal expression has unique authority.
The intrinsic connection between the expressive content of the song and the quartet
further emphasizes why the quartet is so strongly differentiated from the quartet sinfonias that
preceded it. The early sinfonias were academic exercises designed for the exploration of texture
and form.75 By the time he composed the A-minor quartet, Mendelssohn had become a fully
mature composer whose compositional technique with texture and form allowed him complete
freedom to turn his creative imagination to emotional and symbolic issues. As the letter above
74
Marc-Andr Souchay and Felix Mendelssohn, Source Readings in Music History, edited by Oliver
Strunk, revised edition edited by Leo Treitler, translated by John Michael Cooper (N. Y. and London: W. W.
Norton, 1998), 1201.
75
There are quotations of Swiss folk tunes in Sinfonias 9 and 10, each time in the Scherzo movement. In
these cases, however, the quotations do not by any means become pervasive emotional issues, but rather borrowed
tunes used for their naively charming melodic character as well as for the sort of picturesque local color that
appealed to pre-Romantic Enlightenment sensibilities.
41
makes clear, Mendelssohn could now incorporate musical-emotional content into the very fabric
of the quartet. Rather than focusing attention on compositional craft, the quartet effortlessly
assimilates and foregrounds the meaning and expressive content of the song.
One paradox found in the first movement also highlights the expressive content of the
music. The choice of E major for the secondary key area relates the move to greater tension to
the slow introduction rather than to the principal area. This draws attention to the motivic
fragments of Frage found in the slow introduction and reinforces their importance.
It would not be unusual for the third movement of a string quartet composed during this
time to be based on a dance form. This third movement begins in the manner of a character
piece, a piece constructed to express a mood or programmatic idea.76 The return of the A
section, however, includes at its coda developmental material which is not usually found either in
dance-based forms or in character pieces and has the effect of opening the movement at its
end. Thus in the quartet the issue of intrinsically musical development overtakes the
characteristic, and this heightens the paradox between the implicit lyricism and the dramatic in
the song-based quartet. The implication is that the quartet as a whole develops toward the
songs music.
The striking aspect of the quartet is that Mendelssohn found a way to work with sub-
genre of the string quartet that alludes to another genre and cites a specific song. He reversed the
usual relationship, to suggest that the quartet produces the song, rather than the reverse.
Mendelssohn thus made a fundamental point about feeling and meaning, i.e., that it resides in the
music, not in the words. This is Mendelssohns essential point; music itself expresses feeling
and meaning better than any words. He is able to make this point by means of a reference to a
vocal genre within an instrumental work. This is a reversal that further changes the perception of
the musical world, and thus provides the linchpin to the Romantic irony of the world.
String Quartet in E-flat Major, op. 12
The perceivable world of Mendelssohns String Quartet in E-flat major, op. 12 is similar
in many ways to the perceivable world of his earlier string quartet, op. 13. The structural tropes
(conventions of the string quartet, scoring, forms, and texture) all remain the same, as does the
76
Willi Apel, Character piece, Harvard Dictionary of Music (Cambridge, Mass.: Belknap Press of
Havard University Press, 1969), 147.
42
composers circle of friends and acquaintances, with the important additions of Ferdinand David
(1810-73), a violinist, and Friederike Dorothea Elisabeth Pistor (1808-87), a family friend,
known as Betty.
Betty Pistor had been invited by Zelter to join his Berlin Singakademie when she was
fourteen.77 Three of the Mendelssohn siblings, Fanny, Felix, and Rebecca, sang at the Friday
evening rehearsals of the Singakademie. The Pistor family lived at 34 Mauerstrasse, and the
Mendelssohns had often walked Betty home from rehearsals.78 Betty was one year older than
Felix, and her birthday, 14 January, was the same as Felixs nameday. The Pistors were invited
to many events at the Mendelssohn home, including musicales, charades, and balls. Betty and
Rebecca were particularly friendly and often studied Italian together.79
In addition to the expanded circle of friends, Mendelssohns familiarity with the quartets
of Beethoven and Haydn is confirmed by an 1830 report from the Scottish composer John
Thomson, who wrote, I was a regular attendant at the quartett parties, held twice a week, and
sometimes oftener, in Mr. Mendelssohns home. He continues, the selection of quartetts was
principally from Haydn and Beethoven.80
The year 1829 was an eventful one for Mendelssohn. Beginning in 1827 the choruses of
the St. Matthew Passion were sung by a small group that met at the Mendelssohn home.81
According to her son, Ernest Rudorff, Betty Pistor was involved with the preparations for the
eventual performance of the work and attended all the rehearsals.82 It is highly likely therefore
that Betty had participated in those first readings of the choruses sung at the Mendelssohn home.
After Mendelssohn and Eduard Devrient convinced Zelter of the viability of the project,
Mendelssohn conducted the Berlin Singakademie in the revival of the work on 11 March. It was
a great success; tickets sold out in a day, and more than a thousand people were turned away. By
77
Ernest Rudorff, From the Memoirs of Ernst Rudorff, translated and annotated by Nancy B. Reich,
Mendelssohn and His World, edited by R. Larry Todd (Princeton, N. J.: Princeton University Press, 1991), 159-60.
78
Mauerstrasse connects Unter den Linden, where the Singakademie was, with Leipzigerstrasse, where the
Mendelssohns lived.
79
Rudorff, 260.
80
The Harmonicon 8/3 (March 1830) 97-101.
81
Werner, 98.
82
Rudorff, 263.
43
popular demand a second performance took place on Bachs birthday, 21 March, and a third,
conducted by Zelter, during Holy Week.83
The final performance of the St. Matthew Passion was conducted by Zelter because
Mendelssohn had already left Berlin for Great Britain on 10 April. 84 Between the end of April
and the end of July, Mendelssohn resided in London and spent time with Ignaz Moscheles and
his wife, Charlotte. On 23 July Mendelssohn and Carl Klingemann left for Scotland, stopping
through York and Durham on their way to Edinburgh. They traveled through Scotland until 15
August, when they returned to London from Glasgow by way of Liverpool. 85 On this trip
Mendelssohn conceived what would eventually become the Hebrides Overture, op. 26, as well as
jotting down the opening of the A-Minor Symphony, op. 56.
According to her son, Felix told Betty with a smile, I am composing a quartet for
you.86 Since Mendelssohn left Germany on 10 April, that must have been in the early part of
1829. Mendelssohns String Quartet in E-flat, op. 12, was finished on 14 September 1829, while
the composer was in London. The manuscript was inscribed To B. P.87
In several letters home Mendelssohn mentioned his quartet. On 17 June 1829 Fanny
wrote to Felix, Whats the status of your quartet to B. P.? Do you still feel the urge to have two
new movements? She was here Sunday and I played that most assuredly absurd Scherzo for her.
She laughed.88 Fanny may have used the word Scherzo to refer to fast-tempo inner
movements generally. Certainly the Canzonetta has humorous elements. It is also possible that
the original movement was a scherzo later discarded by the composer.
The quartet was also mentioned in a letter from Carl Klingemann to Fanny dated 7 July
1829. He wrote, A new quartet in B. P. major has gotten as far as the Adagio. In the last few
83
Werner, 99-100
84
Ibid., 100.
85
David Jenkins and Mark Visocchi, Mendelssohn in Scotland (London: Chappell, 1978), 111.
86
Rudorff, 265.
87
Ibid.
88
Wie steht denn mit Deinem Quartett an B. P.? Hlt die alte Neigung noch fr zwei neue stcke?
Sonntag war sie hier, u. Da spielte ich ihr das gewi absurde Scherzo vor; sie lachte. The Letters of Fanny Hensel
to Felix Mendelssohn, collected, edited and translated by Marcia J. Citron (Hillsdale, N.Y.: Pendragon, 1987), 82.
44
days a new direction has been found there that I liked very much, as much as it pleased him that I
understood it.89 By stating that the piece is in B. P. major, Klingemann may have been
making a pun on B-flat major, which appears in the second movement, using the added P. to
refer to Betty Pistor.90 The word Adagio could be a generic reference to the slow movement,
but in this case the slow movement is labeled Andante expressivo. The only section labeled
Adagio is the slow introduction to the first movement. If this is what Klingemann meant, it
would imply that Mendelssohn had hardly begun the composition.
In a letter of 2 September 1829 Mendelssohn wrote to his sisters, I shall soon send over
my violin-quartet.91 On 10 September he wrote, My quartet is now in the middle of the last
movement, and I think will be completed in a few days.92 And on 22 September Felix wrote,
The Quartet is finished, and I think the ending isnt so bad!93
Mendelssohn gave the score of op. 12 to the violinist Karl Matthias Kudelsky (1805-72)
in Berlin in January of 1830. Kudelsky transported it to Mendelssohns friend Ferdinand David.
David, a well-known violinist, played first violin in a quartet established by Karl von Liphart in
Dorpat (known today as Tartu, Estonia). 94 According to Rudorff, Mendelssohn assumed that
David would have the best opportunity to play it.95
When Mendelssohn learned of Betty Pistors engagement to Adolph Rudorff (1803-73),
he instructed David to change the dedication. In a letter of 14 April 1830, written while he was
recovering from the measles, Mendelssohn wrote,
Do you want to know the latest news from Berlin? Now I must first learn it myself,
since I know as little about what is going on as I would if I were in Dorpat. But still I
89
Ein neues Quartett aus B-, P-dur stehts im Adagio,es ist da in diesen Tagen eine Wendung erfunden
worden, die mich glcklich gemacht hat, so wie es ihn erfreute, dass ichs verstand. Carl Klingemann, Felix
Mendelssohn Bartholdys Briefwechesel mit Legationsrat Karl Klingemann in London (Essen: G. D. Baedeker,
1909), 60.
90
The Letters of Fanny Hensel to Felix Mendelssohn, 82.
91
Hensel, 1: 222.
92
Ibid., 1: 225.
93
New York Public Library collection of autograph letters from Felix to his family.
94
Albert Mell, David, Ferdinand, in The New Grove Dictionary of Music and Musicians, second edition,
edited by Stanley Sadie (London: Macmillan, 2001), 7:49.
95
Rudorff, 268.
45
do known one thing which would upset me if I hadnt already given up courting and
girls and resolved to be an old bachelor. Hear now and take alarm: Betty Pistor is
engaged. Totally engaged. She is the legal property of Dr. and Professor of
Jurisprudence Rudorff. I authorize you to transform the B. P. on the score of my
quartet in E flat to a B. R. as soon as you get confirmation of their marriage from the
Berlin newspapers. It will take just a skillful little stroke of the pen it will be quite
easy.96
The tone of the letter does not indicate that Mendelssohn was serious. In any case David did not
change the dedication, and it remained as it had stood originally.
The other dedicatees of Mendelssohns works were either cultural icons or monarchs,
such as Goethe, Queen Victoria, and Friedrich Wilhelm IV; professional musicians who were
friends of the composer, such as Eduard Rietz and Ignaz Moscheles; or ladies of the elegant
world.97 The pieces dedicated to fellow musicians were intended to be played by those
individuals. The last category included works appropriate for domestic music-making, and they
were dedicated to the women who would play or sing them.
That Mendelssohn chose to dedicate a string quartet to Betty Pistor, who was a friend of
his but not a professional musician and in any case a singer rather than a string player, is
noteworthy, especially given the composers other dedications. According to her son, even Betty
Pistor found it hard to believe that Mendelssohn would dedicate a string quartet to her. He
wrote, The possibility of anyones dedicating a composition to her particularly a large work
like a quartet seemed so remote to her that she interpreted the remark as merely teasing and just
answered with a laugh.98
Although in many letters Mendelssohn referred to his quartet to B. P., the dedication
never appeared on a published edition. There are several possible reasons for this. Up to this
time all of Mendelssohns dedications had been to well-known figures or other musicians. The
only exception is op. 17, the Variations concertantes for violoncello and piano, dedicated to his
brother Paul, an amateur cellist. Neither Betty Pistor nor her initials would have been recognized
outside the Mendelssohn circle of family and friends, and since the dedication would not have
had meaning for those outside that circle, Mendelssohn omitted it.
96
Ibid., 268.
97
Werner, 220.
98
Rudorff, 265.
46
Op. 12 was published in Leipzig in 1830 by Hofmeister.99 Op. 13, which had been
composed two years before op. 12, was published the same year in the same city by Breitkopf
and Hrtel and received the later opus number. Mendelssohn left the opus numbers up to the
individual publishers, and since Hofmeister had the E-flat quartets manuscript prepared for
publication first, it came to have the earlier opus number.100
The Work
Adagio non troppo
The first movement of this sonata form opens with a sedate, slow introduction, marked
Adagio non troppo. The opening chords are in A-flat major, moving to G minor; a passage that
begins imitatively in C minor eventually arrives on the tonic E-flat major at the upbeat to m. 18
(see Diagram 3.5). This is where the main body of the movement begins, with a tempo marking
of Allegro non tardante. The lyrical principal thematic material (P) is an asymmetrical period
ending in m. 37. The transition starts at m. 38 and leads to S in B-flat major at m. 59. The
languid S material appears in the first violin over a dominant pedal in the viola. After a two-
measure ritardando (mm. 65-66) this same material reappears (m. 67), this time in the viola,
followed two measures later by a third repetition of S in the cello. A fourth repetition of S
occurs in the first and second violins at m. 71. At m. 75 the closing material (k) begins as a
series of chords in the minor dominant. The exposition ends in B-flat major with two brief
restatements of the P material in the first violin (mm. 86-89 and 91-94).
99
Felix Mendelssohn Bartholdy, Briefe an deutsche Verleger, edited by Rudolf Elvers (Berlin: Walter de
Gruyter, 1968), 288.
100
Ibid., 287.
47
Time Thematic
Signature material
Intro- Adagio non

4/4 O A , g, c 1-17
duction troppo
Section 1
Allegro non
(expo, part P E:I 18-37
tardante
1)
Transition 38
Section 2
(expo, part S B 59
2)
65-66 ritardando
S 67
S 71
K F 75
P B 86-89
P 91-94
Section 3
P E 94
(develop)
C 104-6
N F 107
N G 115
48
Time Thematic
Signature material
S 123
fugato with
124-49
S+P
V/B 150
S G 151
175-76 ritardando
Section 4
P E
(recap)
S 194
S 196
K 211
N F 245
N viio/g 259
P E 259
The development section (m. 94), which in most sonata forms is unstable harmonically,
starts with the P material firmly in E-flat major. This section thus begins as if it were the
repetition of the exposition. After a brief tonicization of C major (mm. 104-6) a new theme (N)
appears in F minor in the second violin at m. 107. This new theme is too lyrical for
49
developmental treatment (see Example 3.5). Instead of motivic work the N material repeats in G
minor, followed by the S material at m. 123. This section continues with a fugato based on the S
material and later (m. 131) incorporates the P material, as well. The development concludes with
a retransition to the recapitulation that avoids the conventional preparation on the dominant of E-
flat. The harmony moves to the dominant of B-flat and then to G minor, and finally the primary
thematic material reappears in the tonic. A ritardando is the only forewarning of the appearance
of the recapitulation (m. 177).
Example 3.5: Felix Mendelssohn Bartholdy, String Quartet op. 12, mvt. 1, mm. 107-14.
The recapitulation follows the events of the exposition, with the S material appearing in
mm. 194 and 196, and k in m. 211. The N material reappears in m. 245, exactly as it did in m.
107, in F minor with the melody in the second violin. The N material continues with a secondary
diminished-seventh chord in G minor to m. 259, where the P material returns in E-flat major.
The movement ends quietly with restatements of P.
50
Allegretto
The second movement is labeled Canzonetta and has a tempo marking of Allegretto.
This movement is in composite ternary form, with each large section comprised of a rounded
binary form (see Diagram 3.6). The A section begins in G minor with the humorous primary
theme in the first violin. The melody resembles an instrumental folk tune; the rhythmically
stable four-measure melody moves primarily in conjunct motion with only one leap of a perfect
fourth.101 Measures 1-14 consist of a two-phrase parallel asymmetrical period followed by a
cadential extension (mm. 11-14). After the repeat sign comes a passage eight measures in a
quasi-orchestral unison (mm. 15-22). The P material reappears at m. 23, and the section ends
with a perfect authentic cadence in G minor. The contrasting B section begins in the parallel
major (m. 31) with an energetic melody in sixteenth notes heard in the first and second violins,
supported by the lower voices on a droning tonic pedal. A change in texture occurs in m. 38,
where arpeggiated secondary dominants are passed between the first and second violins. The
first half of this rounded binary form ends with a brief (three-measure) return of the earlier
texture (mm. 46-48), leading to a half cadence in G major (m. 49). After the double bar the
section repeats, with the types of rhythmic activity inverting so that the upper voices have the
pedal while the lower voices have the melody. At this point however, the viola and cello are in
octaves and the inner part heard in the second violin in mm. 31-49 is omitted. At m. 60 the
original notes and texture return. At the conclusion of this section there is a seven-measure
section of transition back to G minor (mm. 79-85). An eleven-measure unison section follows
(mm. 86-97). The key is G minor, and this section has a humorous character, emphasized by the
asymmetry of the phrasing and the pizzicato at the end. The movement concludes with a
repetition of the A section, but with no repeat signs. At m.120 fragmented P material is heard in
pizzicato in the first and second violins, and again at mm. 122 and 124. An a tempo is found at
m. 125, with P material to the end.
101
Although labeled Canzonetta, this particular theme is perhaps more reminiscent of a German folkdance.
51
Time Thematic
Signature material
Canzonetta
A Allegretto 2/4 a G 1 rounded
binary
cadential
11-14
extension
b 14 double bar
a G 23-30
B c G 31
change in
38
texture
return of
46-48 texture
from m. 31
double bar,
rhythmic
G: V 49-53
activity
inverted
c 60
Transition To g 79-85
G 86-97
no repeat
A a 97
signs
a (frag-
120
mented)
a (frag-
122
mented)
52
Time Thematic
Signature material
a (frag-
124
mented)
a tempo a 125
Andante espressivo
The third movement, marked Andante expressivo, is a simple two-part form in B-flat
major (see Diagram 3.7). The first part (mm. 1-28) is followed by a more elaborate version of
the same material (mm. 28-56) with quiet closing material marked tranquillo (mm. 57-65). The
character of the movement is that of an expressive aria. The first violin has a melody that spans
three octaves. Its soloistic nature is emphasized by embellishments in the melody and directions
such as con fuoco.
DIAGRAM 3.7: Felix Mendelssohn Bartholdy, String Quartet op.12, mvt. 3.
Time Thematic
Signature material
Andante
A 3/4 B 1-27
expressivo
elaborate
A1 Largo 27-65 version of
A
Molto allegro e vivace

The final movement, like the first, begins energetically in the wrong key, on the
dominant of C minor, and does not arrive in E-flat major until m. 14 (see Diagram 3.8). This
53
really serves as a transition from the key of G minor at the end of the third movement to the
principal thematic material of the fourth. The expressive P material begins in m. 14, ending on
an imperfect authentic cadence at m. 24. The transition begins here and moves through C minor
to reach B-flat major at m. 65. The quiet and calm secondary thematic material in B-flat major,
is marked tranquillo. The P material reappears in a soloistic style (m. 77) before breaking off
into running eighth-note triplets (mm. 82-88). At m. 90 the closing material is in G minor, and it
picks up the eighth-note triplets from the preceding measures, turning into another orchestral
unison. These measures are marked con fuoco in all parts. The exposition ends, with no repeat
sign, in G minor.
Time Thematic
Signature material
Molto
Intro- transition
Allegro e 12/8 O V/c 1-14
duction from m. 3
vivace
Section 1
(expo, part P E 14-24
1)
transition c, B 24-65
Section 2
(expo, part tranquillo S B 65
2)
soloistic
P 77
style
con fuoco K G 90
end of
exposition
4/4 105
(no repeat
sign)
Section 3 Listesso N from
12/8 N f 106
(develop) tempo mvt. 1
54
Time Thematic
Signature material
O v/c 126-27
Section 4
P E 128
(recap)
S F 181
soloistic
204-09
style
K c 210
O 222
O 225
Listesso
Coda 4/4 f 229
tempo
E 237
253 vln. Solo
N 255 ad lib.
N f 259
P from
P E 272
mvt. 1
The development section begins at m. 106 with the lyrical N material from the first
movement in F minor, exactly as it appeared in the first movement. The development sections of
55
both the first and last movements thus share the same material in the same key. After a brief
restatement of that material there are two measures of O (on V of C minor) at mm. 126-27,
directly followed by the recapitulation at m. 128. The development section is thus a mere 23
measures with no actual developmental treatment of any theme. As in the first movement, the
recapitulation (m. 128) is not approached through the use of the dominant of E-flat. At m. 181
the S material returns in an agitated fashion in F minor. Just as happens in the exposition, the
first violin has a six-measure (mm. 204-9) solo consisting of eighth-note triplets. At m. 210 the
closing material begins, with the same eighth-note figure in the viola and cello, in C minor.
Eventually (m. 216) the triplets are heard in unison in all voices, leading to a restatement of the
opening material at mm. 222 and 225. The coda begins at m. 229 in F minor, moving to E-flat
major by m. 237. At m. 253 the first violin has a six-measure solo marked expressivo, and in m.
255 the direction ad lib suggests free rhythm. Measures 255-56 consist of a fragment of the N
material from the development sections of the first and last movements. At m. 259 there is a
complete restatement of N material in F minor, followed by the principal thematic material from
the first movement in E-flat major (m. 272). The movement ends quietly (m. 313) in E-flat
major.
One contradiction in the world of the work is the second movement, labeled
Canzonetta. In the eighteenth and nineteenth centuries the term was used to refer to a solo
strophic song that was both musically and poetically simple. It was also used to describe a short
instrumental work with a song-like character.102 The term canzonetta was used in England to
describe English parlor songs. Mendelssohn completed the quartet while in England and in all
likelihood would have been familiar with English canzonettas. If this movement is the scherzo
that Fanny referred to in her letter cited above, Mendelssohn would have composed it while still
in Berlin. The title Canzonetta could have been added after his arrival in England (if it had been
originally titled Canzonetta, Fanny would presumably have referred to it using that term).
Another contradiction in the world of the work is the incorporation of an aria style in the
third movement. The overwhelmingly vocal nature of this movement introduces a contradiction
102
Suzanne G. Cusick, Canzonetta, In The New Grove Dictionary of Music and Musicians, edited by
Stanley Sadie (London: Macmillan, 1980), 3: 747.
56
because it draws elements of specifically vocal music into the genre of the string quartet.103 It is
certainly not unusual for a composer to include an aria-style movement as the slow movement of
a string quartet. What is unusual here are the consistent interjections of vocal material
throughout this string quartet.
Persona
The vocal aspect of the quartet is pronounced. The second movement, Canzonetta, has a
theme with many folk-like elements, such as limited melodic and harmonic ranges, and square
rhythm. The third movement, however, alludes to more sophisticated vocal music in its aria-like
style. Although both movements allude to vocal music, the vocal music referred to differs
significantly in character. There is evidence of socially different styles in the quartet, the
canzonetta and aria, so the persona has experiences of both sophisticated and folk-like music
idioms. The persona of op. 12 is a musician who has absorbed diverse experiences.
The persona addresses the quartet to B. P. The persona of the quartet, however, is a
musician and is addressing B. P. as a fellow musician to whom vocal style appeals rather than
intensive instrumental work.
Op. 12 presents several paradoxes. In the first movement the opening material begins in
A-flat major, moves to G minor and C minor, and eventually arrives at the tonic, E-flat major. In
contrast, section 3, which is usually unstable harmonically, begins firmly in E-flat major. The
development section sounds, therefore, as if it is the repetition of the exposition rather than a new
section. The return of the P material in E-flat major, followed by a new lyrical theme in F minor,
highlights a crucial paradox, the complete lack of developmental material in this movement, and
indeed in the entire quartet.
The second movement, in composite ternary form with a rounded binary A section, also
demonstrates the lack of developmental treatment. Although there is not a development section
per se in a rounded binary form, developmental treatment of themes sometimes occurs. In this
rounded binary form, however, all the material is expository in nature, again emphasizing the
paradox of a string quartet with no developmental treatment. The third movement is a two-part
103
The appearance of aria-style slow movements goes all the way back to Haydns op. 1 no. 1 and his op.
33 (find a specific quartet). Vocal allusions can be found in Mozarts Haydn Quartets K. 169 and 170, and continue
through Beethovens late quartets (one of the most well-known is the slow movement of op. 132, which is a hymn).
57
form in which the second section is an elaborated version of the first and so also has only
decorative but not developmental treatment of themes. In the final movement the development
sections contain the N material from the first movement, and once again there is no
developmental treatment.
One of the most interesting features of op. 12 is the cyclical nature of the quartet.
Material from the first movement reappears in the last movement. In the final movement at m.
252, the N material from m. 107 of the first movement returns in F minor (as part of the violin ad
lib section). And at m. 273 P from the first movement returns.
Transcendence
Op. 12 is the counterpart to op. 13 in that it deals with the same world of issues as op. 13,
but it frames them differently. Both string quartets address the issue of meaning in music. Op.
13 is based on op. 9 no.1, a song, which, however, is not a particularly song-like piece. The
opening phrase of Frage lends itself to instrumental development rather than vocal style. Op. 13
begins with instrumental material and ends with a direct quotation of Frage. It thus creates a
vocal piece out of instrumental material and in so doing emphasizes that music itself expresses
feeling and meaning, and words are a response to that meaning. Op. 12 approaches the issue of
meaning from another perspective. Op. 12 uses vocal-style music to create a string quartet, the
most abstract of all genres. The direct references to vocal styles allow op. 12 to demonstrate
vocal aspects of instrumental music. Where op. 13 began with instrumental style music and
ended with a song, op. 12 uses vocal style music to build an instrumental work. Each quartet
makes a point about the truth that music is precise in its meanings, and that words are a reaction
to those musically expressed meanings.
The N theme that appears in the development sections of both first and last movements is
a vocal intrusion into the instrumental work. The return of this material in the development
sections further emphasizes Mendelssohns conception of the relationship between words and
music. The N material does this by appearing, with its lyrical nature, in the development
sections, where one traditionally expects the most complex and sophisticated treatment of
instrumental music (such as sequence, variation, repetition, fragmentation, juxtaposition,
augmentation, and diminution). The cyclical nature of this particular material is yet another
reinforcement of Mendelssohns point. The constant intrusion of vocal style music in an
instrumental work further reminds the listener of this paradox which underlies Romantic irony.
58
String Quartets op. 44 nos. 1-3
The quartets of op. 44 differ from opp. 12 and 13 in that they were published together as
a group of three. In the following, therefore, there is a collective discussion of the Perceivable
World of the Work for the three quartets as a set, followed by the first four topics (Perceivable
World of the Work, The Work, Contradictions in the World of the Work, and Paradoxes Specific
to the Work) for each individual quartet. The final two issues (Persona and Transcendence),
however, are considered following the discussion of the individual works. The string quartets
are taken up in the order of their composition rather than in their placement in the published set
to preserve the chronological nature of the discussion.
Perceivable World of the Work: op. 44
An important articulation point in Mendelssohns career occurred in 1835, when he
moved from Dsseldorf to Leipzig to take over as conductor of the Gewandhaus Orchestra. This
position was a significant step in the establishment of his status and influence in Germany.
In the summer of 1836 the director of the Ccilienverein in Frankfurt am Main, Johann
Nepomuk Schelble (1789-1837), was ill and asked Mendelssohn to come and conduct for six
weeks in June and July.104 Mendelssohn acquiesced, and he arrived in Frankfurt on 7 June 1836.
Also living in Frankfurt that summer was Mendelssohns friend the pianist, conductor, and
composer Ferdinand Hiller (1811-85).105 Although they had previously been acquainted,
Mendelssohn and Hiller became particularly close during this time. The two men often
discussed composition, and Mendelssohn consulted Hiller when composing op. 44 no. 2.106
Mendelssohn frequently visited his fathers sister, Dorothea Schlegel, who lived in
Frankfurt at this time. She had been widowed at the death of her second husband, Friedrich
Schlegel, and was living in the home of her son from her first marriage, Philipp Veit, who was
104
Werner, 252, 296.
105
Werner, 296.
106
Hiller, Letters, 97.
59
the director of the Stdelsches Kunstinstitut.107 Dorothea Schlegel possessed a shrewd intellect
and a brilliant cultural background. Mendelssohn enjoyed her company.108
It was also during his Frankfurt summer of 1836 that Mendelssohn met his future wife,
Ccile Sophie Charlotte Jeanrenaud (1817-53). She was the second daughter of Auguste (1788-
1819) and Elisabeth (ne Souchay) (1796-1871) Jeanrenaud. Auguste Jeanrenaud had been a
pastor of the French Reformed Church, and Elisabeth came from a family not unlike the
Mendelssohns. They were a close-knit family, whose fortune had been built in trading, textiles,
and the merchant banking business. After her husbands death Elisabeth had moved the family
from Lyons to her parents home in Frankfurt.109 Mendelssohn and Ccile met in early summer
of 1836, became engaged on 9 September, and were married on 26 March 1837.110
The three quartets of op. 44 were written soon after the Mendelssohns marriage; the
earliest one, no. 2 in E minor, was completed on 18 June 1837; no. 3 in E-flat major was
completed on 6 February 1838; and no. 1 in D major followed on 24 July 1838. The set was
published by Breitkopf and Hrtel as op. 44 in the summer of 1839.
Op. 44 was dedicated to the Crown Prince Oscar of Sweden. Oscar, who became King
Oscar I, was the son of Jean Baptiste Jules Bernadotte (1763-1844), a member of the French
army, who, through a palace coup, had become King Karl XIV Johann of Sweden.111 The
Crown Prince was born in 1799, crowned Oscar I in 1844, and reigned until his death in 1859.
The Prince was particularly interested in music and studied with Mendelssohns longtime
friend Adolf Lindblad (1801-78). The Swedish composer and Mendelssohn had become
acquainted when Lindblad came to Berlin in 1825 to study with Zelter. Lindblads students
included not only the Crown Prince of Sweden but also his son Prince Gustav and the singer
107
The Stdel Art Institute was a bequest by the banker Johann Friedrich Stdel (1728-1816) and housed an
important art collection. Mendelssohns cousin Philipp Veit (1793-1877) was the director from 1830 to 1843. See
The Mendelssohns on Honeymoon: The 1837 Diary of Felix and Ccile Mendelssohn Bartholdy Together with
Letters to their Families, edited and translated by Peter Ward Jones (Oxford: Clarendon Press, 1997), 50.
108
Ibid., xiii.
109
Ibid.
110
The Mendelssohns on Honeymoon, xv, xviii, xxi.
111
Dictionary of Scandinavian History, edited by Byron J. Nordstrom (Westport, Conn.: Greenwood,
1986), 321.
60
Jenny Lind (1820-87).112 Prince Oscars ability in music was such that when his friend the
composer Eduard Brendler (1800-31) died before completing his opera Ryno, the Crown Prince
completed the final six numbers. The work was performed by the Swedish Royal Opera in May
of 1834.113
Mendelssohn and Oscar I shared many political ideals. Oscar I had progressive views
regarding social reform. During his reign reforms in education, poor relief, tariffs, prison
conditions, religious freedom, and womens rights were all enacted. In spite of these progressive
ideas concerning social issues, however, Oscar I adamantly opposed constitutional reforms of
any sort.114 He belonged firmly in the eighteenth-century tradition of enlightened despotism.
Mendelssohn met the Crown Prince during his honeymoon. An entry by Ccile in the couples
honeymoon diary for Sunday, 4 June, reads, visits in the morning, when Felix met the Crown
Prince of Sweden in the Stdel Institute.115 A second meeting between the two took place two
days later, on Tuesday, 6 June. Ccile wrote, Meeting with the Crown Prince of Sweden on the
way home. Felix conversed with him.116
Mendelssohns op. 44 was intended for a very different audience from that of his earlier
quartets. As has been established earlier in this chapter, both opp. 13 and 12 were most likely
conceived for performance either as part of an afternoon or evening of domestic music-making,
as in the case of op. 13, or by professional musicians for a small, invited audience, as in the case
of op. 12. The three quartets of op. 44, however, were conceived as works performed by
professional musicians in a concert hall.
The public rather than private venue of op. 44 would also have affected Mendelssohns
choice of dedicatee. Mendelssohn never dedicated public works to a relative or family friend,
112
Kerstin Linder, Lindblad, Adolf Fredrik, The New Grove Dictionary of Music and Musicians, second
edition, edited by Stanley Sadie (London: Macmillan, 2001), 14:712.
113
Anders Wiklund, Brendler, Eduard, The New Grove Dictionary of Music and Musicians, second
114
Dictionary of Scandinavian History, 441.
115
Honeymoon, 50.
116
Ibid., 51.
61
and therefore his dedication of op. 44 to a public figure, the Crown Prince of Sweden, seems
consistent with the public nature of the quartets.117
Perceivable World of the Work: op. 44 no. 2
Mendelssohn discussed op. 44 no. 2 in some detail in his letters home. In a letter to
Fanny dated 10 April 1837 he wrote I have almost finished a string quartet, and shall soon begin
another. I am in the right vein for working now.118 On 13 July he wrote to Hiller,
I have not worked much here, I mean not written much, but I have a new
violin quartet, all but finished, in my head, and I think I shall finish my
pianoforte Concerto [op.40] next week. I have mostly followed your
advice in the alterations in the E minor violin quartet, and they improve it
very much; I played it over to myself the other day, on an abominable
piano, and quite enjoyed it, much more than I should have imagined. 119
Mendelssohn quite often expressed a seemingly reluctant pleasure in his own work. These
ambivalent sentiments were echoed in a letter of 29 October 1837 to his brother Paul,
Fanny will probably give you to-morrow the parts of my new quartett
from me. Whether it will please you or not is uncertain; but think of me
when you play it and come to any passagewhich is peculiarly in my style.
How gladly would I have given you something better and prettier in honor
of your birthday! But I did not know what to send.120
And on 10 December Mendelssohn wrote, again to Hiller,
David played my E minor quartet in public the other day, and is to repeat
it to-day by special desire; I am curious to know how I shall like it; I
thought it much prettier last time than I did at first, but still I do not care
much about it. I have begun a new one which is almost finished and
which is better.121
117
Mendelssohns dedications always reflect a deliberate intent. In a letter of 7 February 1834,
Mendelssohn had written to Moscheles requesting permission to dedicate his Rondo brillant, published as op. 29 to
Moscheles. He wrote, In general, I am not very partial to dedications, and have seldom made any. See Moscheles,
Letters, 85.
118
Mendelssohn was referring here to op. 44 no. 3, in E-flat major. See Hensel, The Mendelssohn Family,
2: 34.
119
Ferdinand Hiller, Letters, 97.
120
Letters of Felix Mendelssohn Bartholdy from 1833 to 1847, edited by Paul Mendelssohn Bartholdy,
translated by Lady Wallace (Freeport, N.Y.: Books for Libraries Press, 1864, reprinted 1970), 126.
121
Ibid., 107.
62
Mendelssohn often wrote about his compositions in a self-deprecatory manner and seemed
surprised when his works succeeded as well as they did. These comments contain a polite self-
effacement mixed with the eternal self-criticism characteristic of many of Mendelssohns
comments about his own work.122
The Work
Allegro assai appassionato
The first movement, in sonata form, is marked Allegro assai appassionato and opens
immediately with the principal thematic material (see Diagram 3.9) in E minor, featuring bold,
wide-ranging arpeggiated figures, symphonic in the style of the so-called Mannheim rocket, in
the first violin. In m. 25 the transition begins with its own thematic material, consisting of
sixteenth notes moving primarily in scalar motion passed, dialogue-fashion, among the parts. By
m. 39 the key moves to the dominant, B minor, which seems unusual, because one does not
expect the dominant to arrive so early in the transition. This proves a misdirection, for the
contrast key is really G major, which arrives at m. 53 with the S theme (see Example 3.6). In a
move whose significance we will turn to later, the transition never actually leads to the true
secondary key, G, but instead sets up B minor. The early appearance of the dominant in the
transition and the long pedal on V/V immediately prior to S in the relative major misleads the
listener.
DIAGRAM 3.9: Felix Mendelssohn Bartholdy, String Quartet op. 44 no. 2, mvt. 1.
Time Thematic
Signature material
Section 1
Allegro assai
(expo, part 4/4 P E 1
appassionato
1)
transition T 25
B 39
122
Marion Wilson Kimber, For art has the same place in your heart as mine, Family, Friendship, and
Community in the Life of Felix Mendelssohn, in The Mendelssohn Companion, edited by Douglass Seaton
(Westport, Conn.: Greenwood, 2001), 49.
63
Time Thematic
Signature material
Section 2
(expo, part S G 53
2)
S 61
T 69
P G 84
Section 3
P 98
(develop)
T&P 122-53
V/e 146
S C 155
partly in
P C 160-67
diminution
Section 4
P e 168
(recap)
T 187
S E 193
T e 215-22
K 223
Coda P e 230
64
Time Thematic
Signature material
T e 250-59
S e 261-63
tonicized
C 264-68
briefly
in
P 269-71
diminution
P 275-77
The lyrical S material is taken up by the cello at m. 61, and the T material returns in the
first violin in m. 69, leading to a forte, very aggressive closing passage in dotted rhythm at m. 77.
The P material returns in G major at m. 84, and a first ending begins at m. 97. After the
repetition of the exposition, the development section begins at m. 98 with the P material in
diminution. From m. 122 to m. 153 the T material passes through all the voices, eventually
joining with the rising arpeggiated figure from the P material. At m. 146 the dominant of E
minor appears, seemingly preparatory to the recapitulation. The S material, however, first enters,
in C major, diverting the expected course of events both thematically and tonally. The P
material, partly in diminution, appears in the first and second violins, still in C major, from m.
158 to m. 167. The recapitulation, beginning with the arrival of the P material in the tonic and in
its original note values, but introduced over a dominant pedal, starts unobtrusively at m. 168. At
m. 187 there is a four-measure section of material related to T as it appears in the development.
This running sixteenth-note figure is similar to but not identical with T. It is passed among all
the voices, leading to a restatement of S in the parallel major at m. 193. The T material, this time
in E minor, appears in mm. 215-22. K occurs in m. 223 and leads directly to the coda, which is
particularly rich thematically, restating the P, T, and S material. The P material appears in the
tonic at m. 230. The T material makes its final appearance, again firmly in E minor, in mm. 250-
65
59, followed by a brief restatement of S (mm. 261-63). The key of C major is again tonicized
briefly (mm. 264-68) before P reappears in diminution in mm. 269-71. The movement ends with
an allusion to P in the first violin.
66
EXAMPLE 3.6: Felix Mendelssohn Bartholdy, String Quartet op. 44 no. 2, mvt. 1, mm. 39-53.
67
Scherzo: Allegro di molto
The second movement, labeled Scherzo, is an example of Mendelssohns famous elfin-
scherzo style. It is not, however, in the conventional ternary form of a scherzo movement but
rather is a sonata-rondo (see Diagram 3.10). The movement opens with the rondo theme in E
major. This R material emphasizes the scherzo-like character of the movement; it is a light and
bouncy theme consisting of rapidly moving passages with abrupt dynamic changes. After a half
cadence at m. 8, P repeats, ending with an imperfect cadence at m. 16. The transition to B major
begins at m. 16, leading to the first episode and the secondary key area. This episode has its own
homorhythmic and metrically regular thematic material (X), beginning at m. 25, and continues in
B major, ending in this key at m. 51. The rondo section, with R in E major, returns at m. 53. A
developmental variant of X appears at m. 65, followed by a second episode, which begins at m.
77. This section consists of a fugato whose theme is derived from the rondo theme. The fugato
theme is inverted at m. 93 and remains in inversion for the next seven measures. The original
fugato theme is restated in an orchestral, homorhythmic setting at m. 105. The retransition
occurs at mm. 111-24, leading, however, not to R but to X (m. 125) in C-sharp minor. At m. 141
a striking moment occurs when the viola enters with new thematic material (N) in a homophonic
texture, still in C-sharp minor (see Example 3.7). The particularly lyrical character of this
melody contrasts with the scherzo style that preceded it, and the change from polyphonic to
homophonic texture is especially startling. The sharp contrast provides a particularly strong
emphasis to the emergence of the violas melody. The addition of pizzicato in the cello also adds
to the distinctness of these measures. The rondo section returns, with R in E major, at m. 151.
The X material from the first episode follows at m. 175, this time remaining in the tonic key.
The R material returns at m. 209 (in E major), followed by a restatement of the viola line from
mm. 141-49, presented here in the same striking manner as earlier but in the tonic key. The
movement ends with a final, pianissimo restatement of R.
68
Time Thematic
Signature material
Allegro di
Rondo 3/4 R E 1
molto
T 16
1st episode X B 25
Rondo R E 53
69
Time Thematic
Signature material
develop-
nd mental
2 episode X 65
variation
of X
Y 77
retransition 111-24
X C# 124
Homo-
N C# 141-49
phonic
Rondo R E 151
3rd episode X E 175
Rondo R E 209
N E 217-29
R E 231
Andante
The third movement, like the second, is a standard string quartet movement. This
movement is an aria-like Andante; it is homophonic in texture with a long, expressive melody in
the first violin. This movement, too, is a variant of sonata form (see Diagram 3.11). The
movement opens in G major with a two-measure introduction before the particularly expressive
P material begins. The principal thematic material is a two-phrase, parallel, symmetrical period.
The transition to D major takes place at mm. 21-25, and the secondary thematic material appears
(m. 25) in the first and second violins, supported by a running, sixteenth-note figure in the viola.
70
At m. 36 we again find homorhythmic material, this time closing material. At m. 42 the P
material reappears in a rhythmically altered variant to form a very brief (five-measure)
development-like section. The recapitulation takes place at m. 47, in G major, with P in the
cello. The transition in the recapitulation does not actually involve a change of key, because the
S material reappears in the tonic, as expected, but the pseudo-transition incorporates a series of
unstable chords (mm. 53-56), consisting of V7, V/V, Ger 6, vi, V/V, and V (see Example 3.8).
This unusual detour comes to a conclusion with the appearance of S firmly in G major (m. 57).
This harmonic diversion is another instance of the tactic that occurs in the transition in the
exposition of the first movement. In both movements an interruption in the formal harmonic
structure misleads the listener. After a restatement of S the movement continues with the closing
material (m. 67) and concludes quietly at m. 83.
Time Thematic
Signature material
Intro-
Andante 4/4 O G 1-2
duction
Section 1
(expo, part P
1)
T 21-25
S D 25
K 36
develop-
P 42-47
mental
Section 3
P G 47
(develop)
71
Time Thematic
Signature material
Section 4 unstable
T 53-56
(recap) harmony
S G 57
S G 67
Presto agitato
The Presto agitato final movement of this quartet is in sonata-rondo form. The rondo
theme appears immediately in the first measure of the rondo section, in the tonic key, E minor.
72
The R material is a wide-ranging and lively theme that exploits dynamic contrast. After the R
material is stated (m. 21), a fragment of the theme is presented in a homophonic texture (mm. 23-
31). At m. 32 another fragment is treated imitatively. The section continues, becoming
transitional at m. 40 and leading to the first episode (see Diagram 3.12), which begins at m. 75.
The softer, lyrical theme (X) appears in the first violin on the dominant of G major. The X
material is repeated, momentarily doubled in the viola. The R material returns at m. 111, now in
G, and continues to m. 124. An extension of the first episode occurs at m. 125, its Animato
tempo marking reflected in the running eighth notes heard in the first violin. The retransition
begins at m. 155, with the running eighth notes acting as a counter-theme to X material, which is
found in the second violin and viola. At m. 175 the running eighth notes continue in all parts to
m. 178, when they are found only in the first violin to m. 182. The key of C major appears
briefly before the rondo section returns (m. 185) with the R material in E minor. The second
episode begins at m. 212 and includes a fugato on a fragment of the R theme (see Example 3.9).
The X material returns again at m. 244 in the second violin, this time in E minor. The R material
returns at m. 261. Although this statement of R is in the tonic, it does not yet constitute the
beginning of the rondo section, because it appears an octave higher than heard previously and
over a dominant pedal. The rondo section itself is reached at m. 266 with a statement of R in E
minor. The transition begins at m. 286 and moves to C major (m. 300) before arriving at the
third episode, with the X material, this time in E major (m. 329). At m. 345 the X material
repeats as before in the first violin and viola. The R material appears at m. 365 in the second
violin and is repeated in the viola (m. 369) and the first violin (m. 372), all in E major. There is
an extension of this section beginning at m. 379 that remains in E major. At m. 404 the X
material returns, doubled in the second violin and viola with the counter-theme in the first violin.
This leads to the coda in m. 425, where a fragment of the X material is treated developmentally
through repetition and imitation. At m. 437 the T section returns with the principal theme, this
time in the original key of E minor (rather than the relative major). The coda emphasizes E
minor, with multiple restatements of the R material and X fragments, until the end (m. 515).
73
Time Thematic
Signature material
Presto
Rondo 3/4 R e 1-21
agitato
Homo-
23-31
phonic
32 imitation
T 51
X V/G 75
R G 111-24
extension
125
of X
retransition 155
eighth
C 175-78 notes in all
parts
74
Time Thematic
Signature material
eighth
182 notes in
vln. 1 only
R e 185
fugato on
Y 212 fragment
of R theme
X 244
octave
R e 261 higher over
a V pedal
R e 266
R e 286
C 300
with X
X E 326
material
X 345
R E 365
similar to
379
m. 125
X 404
75
Time Thematic
Signature material
develop-
mental
X 425
treatment
of X
R E 437

This string quartet, as discussed earlier in this chapter, has the contradictions in the world
of the work inherent to all string quartets composed during this time. A contradiction that
concerns the role of the string quartet as a genre lies in the idea of music composed both for a
social use and as a personal expression of the composer. While op. 13 contains contradictions
specific to genre and op. 12 incorporates stylistic contradictions, op. 44 no. 2 does neither. There
are no specific contradictions in the world of the work for this quartet.
The paradoxes specific to this work provide important information about the identity of
the persona. The discussion of op. 44 no. 2 will be clearer, therefore, if the paradoxes specific to
the work are addressed first.
The main paradox in this string quartet is the harmonic misdirection that often occurs in
the transition sections of the movements. In the first movement the transition between P and S
begins in E minor, and moves to B minor, setting up the dominant as the contrast key. This turns
out to be deceptive, however, because the secondary key area will be G major.
The second movement, labeled Scherzo, turns out to be a scherzo in style but not in
form, as has already been observed. A striking moment in this movement concerns the
appearance in m. 141 and m. 217 of new, lyrical thematic material in the viola, with a texture
change from polyphony to homophony. Although these sections are not confusing harmonically,
the placement of each interjection is significant. In both instances this new viola melody occurs
76
in a retransition to the rondo section. These measures will be discussed in more detail in
connection with the persona of op. 44.
The third movement introduces a destabilizing harmonic surprise in the reprise. After P,
S is about to be recapitulated in the tonic, and therefore no modulation is necessary. Between
measures 53 and 56, however, a passage of strikingly unstable harmony gives the impression of a
modulation but leads abruptly back to the tonic (see Example 3.7). In this instance the harmonic
misdirection occurs in an area that could be tonally static.
The final movement also treats passages of articulation in the formal structure in such a
way as to misdirect the listener. At the close of the exposition of the sonata-rondo the movement
proceeds as if leading either to a repeat of the exposition or the beginning of the next episode.
The exposition never does come to a close, however; instead, the next episode begins before the
listener is aware of the end of the exposition.
Another example of harmonic misdirection, this time on a large scale, is that the final
movement begins in a minor key, recapitulates in the parallel major, and then ends in the original
minor. It is not unusual for a movement in a minor key to recapitulate in the major. In this case,
however, the tonic returns in the coda, which is far less common.
Further, the two inner movements, as well as the two outer movements, adopt variations
of sonata form. The second and third movements of a string quartet are typically in simpler, less
dramatically designed forms, such as binary, ternary, and variation forms, providing contrast to
the more intense outer ones. In sonata form, however, the transition sections provide more
opportunity for harmonic misdirection than they do in the clear sections of ternary form.
Mendelssohn may have chosen to use sonata form for all four movements precisely because of
the opportunity it provided him to misdirect the listener.
After their wedding in March of 1837 Felix and Ccile Mendelssohn spent much of the
summer on their honeymoon tour, traveling to Freiburg and the Black Forest. On 24 August
Mendelssohn left for his fifth trip to England to conduct a performance of St. Paul at the
Birmingham Music Festival. He returned to Frankfurt, and, reunited with his wife, traveled to
Leipzig, arriving on 1 October.123
123
R. Larry Todd, Mendelssohn, Felix, The New Grove Dictionary of Music and Musicians, second
77
Mendelssohns letters to his family and friends contain few references to op. 44 no. 3.
Although the quartet was not completed until February of 1838, Mendelssohn began thinking
about it much earlier. Ccile wrote in their honeymoon diary on 24 June 1837, Felix
immediately wrote to Mr Moore in Birmingham, and to Herr Klingemann, then in the afternoon
sent a letter to Berlin and began a new quartet.124 In a letter to Hiller dated 13 July, however,
Mendelssohn stated that he had a new violin quartet, all but finished, in my head.125 On 22
July he wrote to his family, I also have a new string quartet and a new psalm almost completely
in my head, and moreover intend to finish them in part here.126 There is thus some confusion
about precisely when Mendelssohn actually started writing the quartet. According to his wife
Mendelssohn began the quartet, which presumably meant in written form, much earlier than
Mendelssohn himself indicated. This discrepancy could be explained in many ways. Either
Mendelssohn or Ccile may have made an error, or perhaps Cciles diary entry referred to
sketches rather than a complete draft. In a letter Mendelssohn wrote to Hiller dated 20 January
1838 he reported, In the way of new things I have almost finished the violin Quartet.127 Three
weeks later, on 6 February, Mendelssohn completed his string quartet in E-flat major, op. 44 no.
3. The next day his first child, Carl Wolfgang Paul, was born.128 Not until four and half months
later, on 26 June 1838, does another reference to the quartet appear. In a letter to Moscheles
Mendelssohn wrote, I have composed a few new Quartets for string instruments.129 The length
of time between references to his compositions is not surprising, given the circumstances;
Mendelssohn, after all, had other things with which to concern himself.
The Work
Allegro vivace
The first movement is a sonata form in E-flat major, marked Allegro vivace. It opens
directly with forceful principal thematic material, which is made up of three motives (see
124
Honeymoon, 56.
125
Hiller, Letters, 97.
126
The psalm is Laudate pueri. Honeymoon, 177.
127
Hiller, 113.
128
Honeymoon, xxvii.
129
Moscheles, 167.
78
Diagram 3.13). The first two, Pa and Pb, function as a contrapuntal pair. Pa, a turn-like
sixteenth-note figure, appears in the first violin in mm. 1-3. Pb, in the second violin and cello,
consists of the descending quarter notes introduced as a countermelody in mm. 2-3. Pc, a dotted
eighth and sixteenth note followed by a quarter note, appears just before the half cadence in m. 5,
and is set homorhythmically. This rhythm is extended for two measures and leads to a
declamatory unison, after which another half cadence (m. 10) is followed by a fermata. The
inconclusiveness of the half cadence and the pause makes the P material sound almost as if it
were opening material rather than the principal thematic material. The material beginning in m.
11 is a modified version of P (with all three of its motives) in F minor. The repetition of P in a
new key reinforces the ambiguity of the initial statement of P. This entire opening segment leads
to confusion about exactly what is happening in the formal structure. The tonic, E-flat major,
returns by m. 32, where the sixteenth-note upbeat figure of Pa is treated imitatively. Although
the developmental texture suggests a transitional function for this passage, the harmony remains
stable, emphasizing the tonic and dominant of E-flat major. After a relatively quick transition of
only six measures (mm. 38-43), the secondary key, B-flat major, arrives at m. 44. The S
material, a lyrical ascending figure in quarter notes, begins at m. 49 in the second violin,
accompanied by Pas sixteenth notes in the first violin. Like the P material, S is stated once in its
own key (B-flat major), moving to F minor before returning to B-flat major (m. 57). G minor
makes a brief appearance (mm. 69-78) before the key returns again to B-flat major. After a
perfect authentic cadence (mm. 91-92), K appears (m. 93) in the first violin. 130
Time Thematic
Signature material
Section 1
Allegro
(expo, part 4/4 Pa, Pb E 1-3
vivace
1)
Pc 5
130
This K material shares the melodic shape and rhythm found in the P material of op. 44 no. 2 movement
3.
79
Time Thematic
Signature material
V 10 fermata
Pa, b, c F 11
Pa E 32
T 38-43
Section 2
(expo, part B 44
2)
S B 49
S F
S B 57
G 69-78
B 91
K 93
Section 3 Pa, b, c, &

113
(develop) S
C 117
D 148
C 152
80
Time Thematic
Signature material
K 194
in
K 198-99
diminution
Section 4
Pa
(recap)
Pa, b 207
Pa & pizz
Coda counter- 300
theme
compact
develop-
309
ment
section
K 319
S 353
The development section begins (m. 112) in E-flat major with a scoring that is inverted
from that found in the exposition: Pa (incomplete) is in the cello and Pb in the violins and viola.
Pa, Pb, Pc, and S are all involved in developmental treatment in this section. The harmony
moves through C minor (m. 117) and D major (m. 148), returning to C minor (m. 152), arriving
at a German sixth chord in m. 162. The K material returns in the cello, the highest voice in the
texture, at m. 163 on a vii07 chord of G minor. Measure 194, with the K material in the viola and
in duet between the first and second violins, begins the dominant preparation for the
recapitulation. This time the second violin is the highest voice in the texture. The K material
appears in diminution at mm. 198-99, and this is quickly followed by Pa material, leading to the
recapitulation at m. 207. Pa appears this time in the second violin and viola, with Pb in the cello
81
and double stops in the first and second violin. The first violin has rapid scalar figuration that
serves as an accompaniment. The order of events in the recapitulation follows the order of
events in the exposition. The coda begins at m. 297, with new motives combined with the Pa
material. The coda includes a compact developmental section, beginning at m. 309 with
imitative treatment of Pa material. The K material returns at m. 319, and S reappears at m. 353.
Scherzo: Assai leggiero vivace
The second movement, a composite ternary form, is labeled Scherzo and bears a tempo
marking of Assai leggiero vivace (see Diagram 3.14). It opens with a section in rounded binary
form (mm. 1-76). The principal motivic material is introduced in the cello in the key of C minor.
This four-measure theme is conjunct and harmonically conservative, in a style conventionally
found in a dance-based movement. After the repetition the movement continues with the
principal theme repeated in the viola (m. 17) with fragments of that same theme in the first
violin. At m. 24 the key alternates between G major and G minor, coming to rest in the minor
mode at m. 41. At m. 49 the P material returns, this time in the viola, in the original key of C
minor. Closing material appears in the first violin at m. 64, bringing the rounded binary form to
an end (m. 76). The trio section (in G major) of this movement begins, in an unusual manner,
with a fugato (m. 77).131 The playful, scherzo-like subject enters successively in each
instrument, heard first in the viola, followed by the second violin, first violin, and much later in
the cello. The harmony moves to G minor with a brief tonicization of D major at mm. 98-110.
At m. 114 new material (N) is heard in the first violin, with P as a counter-theme in the viola (see
Example 3.10). The N material is lyrical, and the marking is expressivo. The principal thematic
material then reappears in the first violin, with N doubled in octaves in the second violin and
cello at m. 131. Fragments of P continue to closing material (mm. 156-65). At m. 166 material
from the beginning of the movement returns, this time with P in the viola, in the key of A-flat
major. The N material reappears at m. 186 in the first and second violins and viola in C minor,
with the P material as a counter-theme, now in the cello. A unison passage is found from mm.
208 to 210 with homorhythm continuing to m. 213, immediately followed by a return of the
fugato, beginning at m. 214. The unison passage provides an orchestral color to the quartet.
The subject of the fugue is the same as presented earlier in the fugato, but here it is treated in a
131
Another famous scherzo in C minor with a fugato trio familiar to Mendelssohn is found in Beethovens
Fifth Symphony.
82
very different manner. The subject is first stated in the second violin. At the second statement of
the subject by the viola, the second violin has a descending chromatic counter-subject. The
fugue subject and counter-subject continue to the beginning of the coda at m. 250. The coda is in
C minor and consists of the opening material with P in the cello. At m. 266 P, in paired voices,
is treated imitatively. At m. 276, however, a startling change in texture occurs with the
introduction of homorhythm, with the P material stated in all voices in unison. The unison
passage continues to m. 291, and the homorhythmic texture to m. 296. The repeated use of
material presented in unison enhances the orchestral effect. The final passage of the movement
has abrupt juxtaposition of dynamic markings, growing through a crescendo to sforzando and
diminishing to piano quite rapidly.
EXAMPLE 3.10: Felix Mendelssohn Bartholdy, String Quartet op. 44 no. 3, mvt. 2, mm. 114-
22.
83
Time Thematic
Signature material
rounded
A 6/8 P C 1
binary
17
G/g 24
G 41
P C 49
K 64
76 end of A
B G 77 fugato
P as
N G 114 counter-
theme
N 131
vii with P
K 156-65
fragments
A P A 166
P as
N C 186 counter-
theme
208-10 unison
84
Time Thematic
Signature material
g 214 fugue
P c 250
Coda P 266 imitative
P 276 unison
Adagio non troppo

The quiet and religious style of the third movement is evident from the very beginning.
The tempo marking of Adagio non troppo and the subdued opening dynamic lend a
contemplative air to the movement. This A-flat major movement, in sonata form, begins quietly
with accompaniment in the second violin, viola, and cello (see Diagram 3.15). At m. 2 the
subdued P material enters in the first violin. This quiet theme is an asymmetrical period ending
in m. 18, and, with a range of just over two octaves and leaps of a fifth or more, has a
particularly instrumental character. At m. 19 two statements of a decorated fragment of the P
theme are heard in the first violin, beginning the transition, which continues to feature elements
from the P section. In m. 25 the first violin introduces a new accompaniment figuration,
consisting of a rocking figure in pairs of sixteenth notes. The accompaniment material from the
movements first measure appears successively in the second violin, viola, and cello. The
rocking figuration then appears in the paired second violin and viola, with a figure derived from
P in the first violin at m. 30. The secondary key area, E-flat major, with its own theme, begins at
m. 35 in the second violin and viola. The S material, paired in the second violin and viola,
mostly outlines an E-flat triad. At m. 39 the S material repeats in the first violin, soon devolving
into a sequential flourish in sixteenth notes (m. 42-46). The decorated fragment of the P theme
from the transition (m. 25) reappears at m. 47 in the second violin, leading to the development,
85
which begins at m. 51. New material (N), m. 56, marked expressivo, is heard at the beginning of
the development section and appears throughout this section, alternating among all four voices.
This passage includes material from T and S and also N, and continues to m. 70, where a
homorhythmic statement of the rocking sixteenth-note T material appears in all four instruments.
Once again transition (mm. 74-82) through multiple restatements occurs. The recapitulation
arrives at m. 83 with the P theme in the tonic key of A-flat major, but the lower parts are
rescored to let the second violin continue the figuration of T. After a repetition of P at m. 93 the
S material returns in the first and second violins at m. 99, leading to a fermata (m. 106) on a vii07
of the dominant (the key has remained A-flat major). The N material returns at m. 113 in the
second violin, accompanied by the rocking T material in the first violin. Three measures later
the N material begins in the first violin and viola, with the T figuration in the second violin. The
final statement of N is heard at m. 119 in the viola. The T material appears in the second violin.
The movement ends pianissimo with fragments of P in the first violin over the accompanying
material found in the opening measures of the movement.
Time Thematic
Signature material
Section 1
Adagio non Accompani-
(expo, part 3/4 A 1
troppo ment
1)
P 2
P (frag.) 19
T
(decorated 25
P)
Section 2
(expo, part S E 35
2)
S repeats to
S 39 mm. 42-46
decorated
86
Time Thematic
Signature material
47
54
N includes
Section 3
N 56 frag. of T
(develop)
and S
Homo-
T 70
rhythm
T with N 74-82 retransition
Section 4
P with T A 83
(recap)
P 93
S 99
vii/E 106 fermata
N with T 113
N 119
Molto Allegro con fuoco

The final movement has a tempo marking of Molto Allegro con fuoco. It is in sonata-
rondo form (see Diagram 3.16). The opening material (O) begins directly in the first violin with
an ascending arpeggio in the tonic, E-flat major, while the three lower instruments have an
anapestic rhythmic accompaniment. At m. 5 the principal thematic material appears in the first
violin. This playful, leaping theme is accompanied by rapidly moving figuration in the second
87
violin and viola (the cello simply clarifies the harmonic function). The opening material returns
at m. 14, remaining in the tonic, and continues as it first appeared. At m. 19, however, there is
an extension of the O material that continues to m. 24, where the P material returns again in the
first violin, this time stated an octave higher. By m. 29 the transition, through repetition of the P
material, has begun. At m. 36 P-derived material, at first in unison and outlining diminished-
seventh chords and secondary dominants of F major, leads to the key of E-flat minor at m. 54.
Here a lyrical melody begins in the first violin, marked cantabile, while the P material is heard in
the cello, with tremolos in the inner instruments (see Example 3.11). Five measures later (m. 58)
the key shifts to D-flat. The first episode begins at m. 62 with the secondary theme (S) in the
first violin.132 This section begins on the subdominant of D-flat major (G flat) and, through a
tonicization of B-flat (V/E-flat minor), continues in E-flat minor (m. 70). A brief return to D-flat
major occurs at m. 75 before a prolongation of the dominant of B-flat major (83-91), leading to a
return of the rondo theme in that key. In most sonata-rondo forms the rondo theme reappears in
the tonic key. In this case, however, it returns on the dominant. This rondo theme contains
opening material only; the principal thematic material does not reappear.
132
Eric Werner states that this quartet is the last instrumental composition in which Mendelssohn still
operates with cyclic ideas. According to Werner the principal theme of the third movement appears in the finale as
the secondary theme. See Werner, 360. While the contours of the two melodies bear a resemblance, they are set
very differently, with different harmonies; the S theme in the final movement does not bring to mind the principal
theme of the third movement.
88
89
Time Thematic
Signature material
Molto
Intro-
Allegro con 4/4 O E 1
duction
fuoco
Section 1
(expo, part P 5
1)
O 14
extension
19-24
of O
P 24
T 29
P-derived
F 36
material
P in cello E 54
lyrical
D 58 melody in
vln. 1
1st episode S IV/D 62
e 70
D 75
Rondo R V/B
from mm.
B 106-131
11-12
90
Time Thematic
Signature material
arpeggios
2nd episode P frag. B 129
in all inst.
Rondo O+N E 131 N in vln. 2
half-
cadence in
P frag. 158
D
O G 164
P 169
O 170
P+O
171-189
frags.
Homo-
P frag. 190
rhythm
S F 195
prep. for
recap,
V/E 205
material
from m. 75
Section 4
O+N E 231
(recap)
P+O 239
Homo-
P 251
rhythm
91
Time Thematic
Signature material
P frag. 255
S 270
material
T 276 from mm.
75 and 205
soloistic
material
derived
Coda 292
from O +
P-related
theme
The second episode begins at m. 106 in B-flat major (the same key as the preceding
rondo section). A fragment of the P theme (from mm. 11-12) appears at the start of this section
and is treated developmentally. This section, which continues to m. 131, has a very sparse
texture, dominated by arpeggios derived from the opening material that alternates among all the
instruments and pizzicato notes in the viola and cello. Toward the end of the passage (m. 129)
all instruments have the scale fragments. This episode is harmonically stable, remaining firmly
in the key of B-flat major until m. 116, where, over a B-flat pedal in the cello, the harmony
moves to a vii07 of F (the dominant of B-flat), to the dominant of E-flat (m. 121). Although this
section at first seems developmental, that is mainly an impression given through the texture and
the treatment of the material rather than a product of any harmonic instability.
The rondo section returns at m. 131 with the opening material in the first violin in the
tonic, E-flat major. Although the viola and cello have accompaniment material similar to that
found in the beginning of the movement, the second violin has new lyrical material (N) (see
Example 3.12). Immediately after the N material a restatement of the P material occurs at m.
136 in the first violin, imitated in the cello at m. 139 and in the second violin at m. 140.
Although the rondo sections usually are the most harmonically stable in a sonata-rondo form,
92
this section is developmental, the most unstable section of the movement. Imitation and
juxtaposition of fragments of P and O continue throughout this section. In m. 159 fragments of P
are juxtaposed in all four instruments (see Example 3.13). The opening material returns in the
first violin at m. 166 and moves to G major (m. 164). Two measures later, at m. 169, a fragment
of the P material is heard in unison in the second violin, viola, and cello, while the first violin has
a fragment of P immediately followed immediately by a fragment of O (m. 170). Fragments of P
and O continue to be found in all four instruments to m. 190, where a fragment of the P material
homorhythmically returns in all instruments. Material from the first episode returns with the S
theme in F minor at m. 195. Preparation for the recapitulation begins at m. 205 with B-flat major
chords, the dominant of E-flat major, with material from m. 76. The dominant pedal in the cello
continues to m. 223. The recapitulation begins at m. 231 with opening material in the tonic and
N material in the second violin until m. 235. The P material returns in the first violin at m. 239,
over O material in the second violin and viola. The P material returns homorhythmically in all
instruments at m. 251, and by m. 255 fragments of the P material are found in the first violin
over tremolos in the second violin and viola. The S material reappears at m. 270, followed by
the transitional material (m. 276) originally found at m. 75 and again at m. 205, leading to the
coda. The coda begins at m. 292 with soloistic figuration derived from O in the first violin. This
figuration, however, acts as accompaniment to a new coda theme stated in the three lower
instruments, related to the P theme. The solo figuration in the first violin over the melody in the
other instruments continues to the final unison measures of the movement.
93
35.
94
90.
95
96
Evocation of religious contemplation is brought into the world of the op. 44 no. 3 in the
third movement. This movement belongs to the religious adagio type, a category originally
associated with character pieces for organ. The religious adagio, notable for its slow tempo,
homophonic texture, and melody supported by a predictable and lifeless chordal
accompaniment, often appeared in incidental service music for the early nineteenth-century
Protestant church.133 The purpose of this type of composition was to create a devotional
atmosphere which would not be interrupted by music that draws attention to itself through
complex compositional forms or technical difficulty. To that end the harmony in this movement
is largely static, with particularly quiet dynamics. The appearance of a new melody in the
development is not uncommon in the religious adagio and serves to prevent the movement from
becoming so static that drowsiness, rather than contemplation, results.
As in op. 44 no. 2, the paradoxes within op. 44 no. 3 seem to consist of misdirection. The
P material in the first movement, mm. 1-10, is in E-flat major, ending with a half cadence,
followed by a fermata. This fermata makes the preceding measures sound like an introduction
rather than like principal thematic material, and this impression is further reinforced by the
material in m. 11 after the fermata. At m. 11 the P material is repeated but modulates to F minor,
which initially sounds like a transition. After several measures in F minor, however, E-flat major
returns at m. 28. Pa appears at m. 32 treated imitatively, which again sounds like transitional
material. This material, however, emphasizes the tonic and dominant and therefore remains
133
Robert C. Mann, The Organ Music, in The Mendelssohn Companion, edited by Douglass Seaton
(Westport, Conn.: Greenwood, 2001), 626.
97
harmonically stable. The transition does not begin until m. 38. The coda, with its developmental
section, contributes to the sense of misdirection prevalent in all the quartets of op. 44. This
texturally and harmonically interesting section creates a situation where the coda, instead of
emphasizing the tonic, actually undermines the sense of conclusion.
In the second movement a paradox concerning texture occurs. Polyphony is juxtaposed
with homorhythm, and this is especially noticeable at m. 276, where not only is the texture
homorhythmic but all voices appear in unison. A positively jarring effect results.
The second movement as a whole provides another example of misdirection. Although
the movement begins with a rounded binary form, the expectations of a traditional scherzo and
trio are denied. After the rounded binary form the movement continues not with a trio but with a
fugato. The movement follows no conventional formal structure, which is especially surprising
given the title of Scherzo and the opening part in rounded binary form.
Paradoxes in the final movement include unexpected deviations from a standard sonata-
rondo form. Within the first appearance of the rondo section (mm. 1-62) there is opening
material followed by the principal thematic material. At m. 14 the O material is repeated with an
extension (mm. 19-24). The principal thematic material follows again at m. 24. The rondo
section is thus essentially stated twice before the transition to the contrasting section begins. An
example of harmonic misdirection occurs between m. 54 and m. 70. The harmony meanders
through E-flat minor (m. 54), D-flat major (m. 61) to the subdominant of D-flat (m. 62), and the
dominant of E-flat major (m. 69) to E-flat minor (m. 70). Measures 54 to 70 have no structural
function; the downbeat of m. 70 could just as well have been heard at m. 54. The first episode
(m. 62) is in the subdominant of D-flat major in an E-flat major movement. It would be more
usual to move to the key area of greatest tension, the dominant, rather than to the subtonic.
Harmonic deviations from sonata-rondo form continue with the return of the rondo section in B-
flat major instead of the tonic E-flat major. In a typical sonata-rondo all statements of the rondo
theme appear in the tonic.134 The third rondo section (m. 131) is paradoxical in that it is
harmonically stable but texturally developmental. This is another example of formal
misdirection, and its position in the final movement of op. 44 gives it a particular emphasis.
134
The return of the main theme in a key other than the tonic characteristically occurs in ritornello form,
characteristic of the Baroque concerto, but not in the classic rondo.
98
Paradoxes concerning harmonic movement, texture, and conventional genre expectations all
occur.
In April of 1838 Mendelssohn and his family (Ccile and their first child, Carl) traveled
from Leipzig to Berlin. Mendelssohns family had not met Ccile during their courtship, and
none was able to attend the wedding. This was therefore the first meeting between the
Mendelssohn family and Ccile. Although the long wait to meet Ccile caused tension, it does
not seem to have stemmed from any objection to Ccile herself but rather from the circumstances
that prevented an earlier meeting between Mendelssohns family and his bride.135
In July Mendelssohn directed the Lower Rhine Music Festival held in Cologne.
Mendelssohns quartet in D major op. 44 no. 1 was completed on 24 July 1838.
On 30 July 1838 Mendelssohn wrote from Berlin to the violinist Ferdinand David that I
have just finished my third Quartet, in D major, and I would like it a lot if it pleased you too. I
almost believe it will, since, it appears to me, it is more fiery and more grateful to the players
than the others.136 In a letter to Hiller dated 17 August 1838, Mendelssohn wrote, My third
violin quartet in D, is finished; the first movement pleases me beyond measure, and I wish I
could play it to you,-especially a forte passage at the end which you would be sure to like.137
The Work
Molto Allegro vivace
This string quartet opens with a movement marked Molto Allegro vivace, with the
principal thematic material beginning in the first measure in D major (see Diagram 3.17). The P
material, in the first violin, consists of a rapidly ascending arpeggio followed by descending
dotted-quarter notes followed by eighth notes. After a half cadence on V of iii in m. 5, the P
material repeats at m. 6 and yet again at m. 10, ending on a perfect authentic cadence (m. 13).
The transition material (T) begins at m. 13 but at first remains firmly in the key of D major. The
135
Marian Wilson, Mendelssohns Wife: Love, Art and Romantic Biography, Nineteenth-Century Studies
6 (1992), 2.
136
Ich habe mein drittes Quartett in D-dur und habe es sehr lieb, wenn es Dir nur auch so gut gefllt.
Doch glaube ich das fast, denn es ist feuriger und auch fr die Spieler dankbarer, als die anderen, wie mir scheint.
Ferdinand David und die Familie Mendelssohn-Bartholdy: Aus hinterlassenen Briefschaften, edited by Julius
Eckhardt (Leipzig: Duncker & Humblot, 1888), 94.
137
Hiller, 130.
99
T material consists of running eighth notes in the lower voices, while the first violin enters two
measures later with an expressive theme. There is a quasi-improvisatory Eingang in the first
violin at m. 31-35. The P material returns at m. 37. For the first several measures this sounds as
if it is a repetition of the beginning of the exposition. After seven measures the harmony
changes, and it remains on an F-sharp minor chord (iii in D) to m. 49. At m. 52 the actual
harmonic transition begins in E major. The viola has a particularly prominent line, employing
fragments of the P material. The T material found earlier (at m. 13) reappears and leads to the
secondary key area (A major) at m. 72. The S material is striking; it is set homorhythmically (as
opposed to the preceding material, which has a polyphonic texture), the dynamic marking in all
four instruments is pianissimo, and it lies in the lower range of each instrument. At m. 90 a vii07
chord in E major (the dominant of A major) introduces fragments of P. Closing material appears
in the first violin at m. 97.
Time Thematic
Signature material
Molto
Section 1 allegro 4/4 P D 1
(expo, part 1) vivace
half
5
cadence
P 6 repetition
P 10 repetition
T D 13
vln. 1
15-17
enters
Eingang in
31-35
vln. 1
100
Time Thematic
Signature material
P 37
Iii/D 49
harmonic
P, T E 52-72 transition
begins
Section 2 S A 72
(expo, part 2)
K 97
120
Section 3
P (frag.) 130
(develop)
T 132
material
136-39 from mm.
15-17
T1 140
T 148
P c 166 false recap
concerto-
like
170
figuration
in vln. 1
N 181
101
Time Thematic
Signature material
P (frag.) 202
V/D 222
Section 4
P D 230
(recap)
S 270
Coda 288
florid
329 passage for
vln. 1
After a repetition of the exposition the development begins in m. 120 with fragments of
the principal thematic material distinguished among the four instruments. The T material returns
at m. 130 in the viola, joined by the second violin one measure later. At m. 132 the first violin
enters with the theme heard earlier (in mm. 15-17); the cello echoes this theme in mm. 136-39.
The T material continues, with a variation of the theme found in the cello at m. 140. At m. 148
the second violin has the T material. The three upper instruments trade this material to m. 165,
where the first violin and cello have C major scales in contrary motion leading to a false
recapitulation of the P material (in C major) at m. 166. The P material is presented in a manner
similar to the opening of the movement, with tremolos in the second violin and viola. At m. 170
the first violin begins concerto-like figuration consisting of scalar passages and arpeggios. At m.
181 (see Example 3.14) the second violin and viola enter with new material (N); this is the only
appearance of N. The lyrical impression of these measures is enhanced by the dynamic markings
of piano and pianissimo, and by the pizzicato quarter notes in the cello. The direction leggiero in
m. 188 for the second violin and viola contributes to the overall impression. A fragment of the P
102
material returns homorhythmically in the three lower instruments at m. 202, followed by P in the
first violin at m. 203. This fragment is repeated in all instruments, leading to the conventional
dominant preparation (mm. 222) of the recapitulation. The recapitulation, with the P material in
the tonic key, occurs at m. 230. The recapitulation follows the events of the exposition in order.
At m. 270 the S material returns, followed immediately by the coda, which begins at m. 288. A
florid passage for first violin occurs at m. 329, marked con fuoco, and leads to fragments of P in
the first and second violins. The movement comes to a close with multiple restatements of the P
material in a sustained fortissimo passage, as mentioned in Mendelssohns letter to Hiller.
87.
Menuetto: Un poco Allegretto

The second movement, labelled Menuetto, has a tempo marking of Un poco Allegretto.
This movement is in composite ternary form, each of its three parts consisting of a rounded
binary form (see Diagram 3.18). This movement is structurally the most conventional among
those of op. 44. The first part opens in the first measure with the principal thematic material in D
103
major. The minuet theme is a two-phrase melody in the first violin, with the first phrase ending
on the tonic, while the second ends on a half cadence. The second part of the rounded binary
form begins with the melody in A major (m. 19). There is a return of the opening in the tonic at
m. 39. After a complete restatement of the theme, the first two measures appear in imitation,
beginning in the cello (m. 54) and continuing with the viola (m. 56) and the first and second
violins (m. 57) in paired voices. This section is repeated. The trio section, with its theme of
running eighth notes, appears in the first violin at m. 64, in B minor, featuring soloistic figuration
in the first violin. This sixteen-measure section is homophonic, with the lower voices holding
sustained chords, and ends on the major dominant of B minor. The second part of this rounded
binary form begins at m. 79, where the running eighth-note theme is transferred to the second
violin and viola, while the first violin has new, more lyrical material. The trio theme returns in B
minor at m. 113 over sustained notes in the second violin, viola, and cello. The texture becomes
polyphonic, with the theme in all four instruments (m. 126). The return of the Minuet begins at
m. 142 in D major. This is an almost exact repetition of the original Minuet section (without
repetition) and is followed by a coda beginning at m. 205. The theme from the trio section
returns, this time in G minor. The harmony alternates every four measures between G minor and
D major (see Example 3.15). The viola and cello have the principal thematic material from the
minuet at m. 213 until m. 217, when it returns to D major and remains in that key to the end of
the movement (m. 225).
Time Thematic
Signature material
Un poco
A 3/4 a D 1 Menuetto
Allegretto
b A 19
a D 39
in
a 54-57
imitation
104
Time Thematic
Signature material
soloistic
B trio theme b 64 figuration
in vln.1
N, trio
79 N in vln. 1
theme
trio theme b 113
A a D 142
trio theme, trio theme

Coda g 205
a in vln. 1
D 209
g 213
D 217
105
25.
106
Andante espressivo ma con moto
The third movement is in the style of a song without words but the form is a five-part
rondo (see Diagram 3.19). The movement is in B minor with a tempo marking of Andante
espressivo ma con moto. The R material is presented immediately in the tonic in the first violin,
over a counter-melody (C) in the second violin consisting of running sixteenth notes. An
accompaniment figure of pizzicato eighth notes alternating with rests that appears in the viola
and cello contributes to the effect of lightness and motion in this movement. At m. 21 the
transition begins with a repetition of the R theme, which moves to V/V in the relative major, D
major. The cello has a prominent arpeggiated line at mm. 24-25. The first contrasting section
begins at m. 37 with its own theme. This theme (X), marked cantabile, is found in the first violin
and consists of a descending line of dotted-eighth notes followed by sixteenth notes.
Retransition to the rondo section, through imitation, occurs at mm. 56-69. The R material then
returns in B minor, marking the beginning of the second appearance of the rondo section.
Transitional material appears at mm. 82-94; however, there is no movement to a new key. After
a series of secondary dominants and diminished-seventh chords, the X material found in the first
episode, again marked cantabile, reappears in the tonic key, B minor, at m. 95. This second
episode is the longest section in the movement and sounds the most unstable. After a
restatement of the X material the transitional material returns, without, however, actually
modulating to a new key. The polyphonic texture of these measures (mm. 105-22), along with
the dramatic dynamic contrast, gives a strong impression of motion and movement. Following a
vii07 of the dominant, a German augmented-sixth chord, and a second inversion tonic chord, the
first violin launches into seven measures of solo figuration reminiscent of a cadenza (m. 124),
(see Example 3.16). The second violin and viola enter at m. 131 with an example of
Mendelssohns elfin-scherzo style that continues in the cello at m. 134. The dominant of B
minor is heard at m. 141, and an abbreviated return of the rondo section is found at m. 143 and
continues to the end (m. 155).
107
Time Thematic
Signature material
Andante
expressivo
R 2/4 P, C b 1
ma non con
moto
transition R D: V/V 21
arpeggiated
24-25
cello line
1st episode X 37
through
retransition 56-69
imitation
R R b 70
transitional
material but
82-94
no mvt. to a
new key
2nd episode X b 95
transitional
material but
105-22
no mvt. to a
new key
cadenza-
like
124-130
figuration in
vln. 1
elfin-
131 scherzo
style
V/ b 141
R b 143-55
108
Presto con brio
The final movement of this quartet has a tempo marking of Presto con brio (see Diagram
3.20). It begins with opening material (O) presented chordally in all parts in the first measure
followed by a rising unison passage in eighth notes. The principal thematic material of this
sonata-form movement begins at m. 10. This quiet but lively theme is heard in the first violin
over tremolos in the second violin and viola and quarter notes in the cello, and repeats at m. 18.
At m. 22 a fragment of P appears, in the first violin, over a homorhythmic accompaniment in the
three lower instruments. At m. 25 P is heard homorhythmically, eventually in all the
instruments, followed by opening material at m. 30. A florid, soloistic passage derived from the
O material in the first violin continues to m. 40, where the viola and then the cello take up the
line. At this point the florid passage from the O material becomes a counter-theme to the
transition, which occurs in the first and second violins. An agitated tremolo figure appears at m.
46, first in the cello, and then successively in all instruments, leading to the secondary key area,
which begins at m. 61. The S material, in A major, occurs in the first violin over a tonic pedal in
the cello. A variant of S appears in the viola at m. 74. At m. 81 P returns in the first violin,
which leads to a florid, soloistic passage featuring the first violin, again derived from the O
material, supported by a dotted-quarter-note, homorhythmic accompaniment in the three lower
instruments.
Time Thematic
Signature material
Intro- Presto con
12/8 O D 1-9
duction brio
Section 1
(expo, part P 10
1)
P 18
P (frag) 22
109
Time Thematic
Signature material
P 25
O 30
vln. 1
soloistic
O-derived, passage
31- 40
T becomes
counter-
theme to T
Section 2
(expo, part S A 61
2)
S1 74
P 81
soloistic
O-derived 89-106 passage for
vln. 1
A 107
Section 3
O 127
(develop)
P V/D 136
145 from m. 22
P (frag) 151
S 169
110
Time Thematic
Signature material
O 180
O V/D 204
Section 4
P D 208
(recap)
S 228
S 236
includes
florid
Coda O 290
passage for
vln.1
111
37.
The development section begins in A major at m. 107 with the opening material,
followed immediately by the tremolo figure from m. 47. The O material returns again at m. 127,
this time leading to the P material at m. 136 on V of D major. At m. 145 the fragment of P from
m. 22 appears. The S material, set homorhythmically in the first and second violins and viola,
returns at m. 151, and S occurs in all instruments at m. 159 over the marking cantabile.
Beginning at m. 169 the first two measures of the O material are quietly repeated. At m. 180 O
appears in imitation, heard in the first violin, followed by the cello (m. 183), the second violin
(m. 185), and finally the viola (m. 187). The dominant preparation for the recapitulation begins
at m. 204, followed immediately by the recapitulation itself, with the principal thematic material
112
in the tonic key (m. 208). The events of the recapitulation follow the events of the exposition,
with S heard at m. 228, and again at m. 236. The coda begins at m. 290 with O material, that
includes a florid passage for the first violin.
Extra-generic associations referring to the genre of concerto occur throughout this
quartet. Examples of concerto-like style are found in all four movements of this quartet. The
opening of the first movement consists of a soloistic melody in the first violin with a particularly
orchestral accompaniment in the second violin and viola. These two instruments have double-
stop tremolos, contributing to the orchestral sound. At m. 31 the first violin has a passage that
resembles the Eingang, that is a common feature of concertos. In this case the Eingang leads to
a restatement of the P material, which again is soloistic in nature. The first violin has a concerto-
like scalar passage, marked con fuoco, at mm. 118-19. Virtuosic figuration occurs again in the
first violin at mm. 166-203, and the first movement concludes with more of the same figuration
in the first violin from m. 354 to m. 374. In the second movement references to the genre of
concerto are found in the second section of the composite ternary form. From mm. 64 to 77 the
first violin has scalar passages over sustained notes in the lower instruments. Again, the double
stops in the second violin and viola increase the orchestral effect of the accompaniment. This
movement ends with more soloistic figuration over sustained notes in the three lower
instruments. The third movement has an exceptionally clear example of extra-generic
association with a concerto. At mm. 124-29 there is a cadenza for first violin over a tonic six-
four chord that eventually resolves to the dominant. The final movement of this quartet is filled
with soloistic figuration in the first violin.
These quartets also demonstrate the influence of Mendelssohns friend and
concertmaster, the brilliant performer Ferdinand David (1810-73). David studied violin with the
virtuoso Louis Spohr and began touring at the age of 15. Mendelssohn and David met and
became friends in 1825. In 1836 David was invited by Mendelssohn to become concertmaster of
the Leipzig Gewandhaus orchestra, and eventually David assumed the same duties at the Theater
orchestra, the directorship of church music in Leipzig, and teaching violin at the Leipzig
113
Conservatory. He and Mendelssohn would work close on Mendelssohns Violin Concerto in E
minor in 1845.138
In contrast to the concerto, which derives its essence from the opposition between a
soloist and a larger group of instruments, the string quartet as a genre conventionally relies on all
four instruments equally. The two genres are mutually contradictory. The social functions of
both genres also create contradiction in the world of the work. String quartets as a genre invoke
the world of amateur musicians performing in domestic situations; the string quartets of op. 44,
however, were intended for the Gewandhaus concert stage and the orchestras eminent
concertmaster. The concerto-like nature of op. 44 no.3 highlights the contradiction between
domestic and professional performance.
The first paradox in this quartet occurs in the coda of the second movement. Beginning
at m. 204 the harmony alternates every four measures between G minor and D major to the end
of the movement (m. 225). The key of this movement is D major for the Minuet and G minor for
the trio; the final measures move back and forth between these two keys. The thematic material,
however, is taken entirely from the trio section. It is unusual to find the kind of clear alternation
of keys, combined with thematic material taken from the trio section in the coda of a composite
ternary form.
Another paradox concerns harmonic misdirection in the third movement. From mm. 82
to 89 there is transitional material that does not, however, move to a new key (the previous key
was the tonic, B minor). A series of diminished-seventh chords and secondary dominants are
followed immediately by the S material, which returns in the tonic. It appears, through the use of
transitional material, that there will be harmonic movements, but that expectation is confounded
when the key remains B minor.
Persona: op. 44
The persona of these quartets adopts a character that we might describe as a perverse
139
guide . In each of the quartets of op. 44 there is calculated misdirection within sections of the
formal structure. (These areas are examined in the Paradoxes Specific to the Work found in the
138
Albert Mell, David, Ferdinand, The New Grove Dictionary of Music and Musicians 2, edited by
Stanley Sadie (London: Macmillan, 2001), 7:49-50.
139
The character of Puck, from Shakespeares A Midsummer Nights Dream is the archetypal figure of a
misguiding guide. Mendelssohn, who composed an overture to that play, would of course have been quite familiar
with the character.
114
discussion of each quartet.) The persona repeatedly misleads the listener through harmonic
misdirection that often consists of either delaying the arrival of an expected key, moving to a key
that turns out to be the wrong one, or wandering through a series of chromatic chords before
returning to the starting key.
In these quartets not only can the activity of the persona be discerned; the voice of the
persona is also evident. The voice of the persona emerges clearly in several places through
allusions to vocal style. In each case it is the melodically-oriented and more lyrical line that
brings attention to the vocal aspect of a particular passage. The vocal signature of the persona
appears either immediately before, after, or occasionally simultaneously with the harmonic
misdirection that is the activity of the persona. The narrative voice of the persona thus exists
outside the formal structure of the work, allowing it effectively to draw attention to the main
paradox of these quartets, that is the dual nature of the persona; i.e, the voice of the persona and
the activity of the persona.
One example of the voice of the persona is found in the first movement of op. 44 no. 1 at
m. 181.140 The second violin and viola are paired in a sustained lyrical line supported by
pizzicato quarter notes in the cello and rapid scalar passages in the first violin. This new melodic
material (N) appears immediately after harmonic misdirection occurs in the form of a false
recapitulation. The persona appears as if to say Here I am, directly after the listener has been
misled.
Another example of the voice of the persona is found in the second movement of op. 44
no. 2, in mm. 141ff and 217ff. In both instances the texture changes from polyphonic to
homophonic, with the melody in the viola. Polyphonic texture predominates in this particular
movement, and the sudden change of texture is arresting. Measures 141ff and 217ff each belong
to separate retransitions back to an A section of sonata rondo form. Through a drastic change in
texture and melodic instrument the homophonic viola melody interrupts the narrative and draws
attention to the persona.
The final movement of op. 44 no. 3 contains another example of the voice of the persona.
At m. 54 the first violin has a lyrical and predominantly conjunct melody marked cantabile. The
voice of the persona is expressed through this song-like melody. The line (V) is a counter-
140
The string quartets of op. 44 have previously been referred to in the order in which they were composed.
In this section, however, they will be considered as a cycle and so will be discussed in the number order in which
they appear in op. 44.
115
melody to the principal thematic material heard in the cello and is accompanied by tremolos in
the second violin and viola. It occurs immediately prior to the first episode of a sonata-rondo
form. The episode has its own theme (S). In this instance not only does the voice of the persona
appear, but so does the activity of the persona. The key at the downbeat of m. 54 is E-flat minor,
the same key that begins the episode. Harmonically the episode could have begun at m. 54; there
is, however, a delay of eight measures. This delay is another example of the activity of the
persona, harmonic misdirection, while the particularly vocal aspect of the first violin line
indicates the presence of the voice of the persona.
The two aspects of the persona contribute to an understanding of how the complete
persona is manifested in op. 44. The activity of the persona is concerned with misdirection,
while the voice of the persona manifests its presence. The voice of the persona says, I am
here, while the activity of the persona misdirects the listener. In both opp. 13 and 12 the
persona directed attention to the main paradox in each work. In this case the two aspects of the
persona are used to draw attention to the main paradox of op. 44, that musical passages that
should guide the listener deliberately mislead.
The persona draws attention to itself rather than to other paradoxes, and that is the main
irony of the work. Through the personas misguiding guidance attention is focused directly on
the persona, rather than on any of the other paradoxes.
Transcendence
In these quartets transcendence operates on two distinct levels. The first is the
misguiding guidance of the persona, based within the music itself. The harmonic misdirection
prolongs the uncertainty of the expected events in the quartets, preventing the listener from
becoming too comfortable. This uncertainty, caused by the actions of the persona, distances the
listener from the work, and causes the actions of the persona to be evident. The presence of the
persona is pushed to the forefront of the listening experience.
The second aspect of transcendence has to do with the paradox inherent within the
persona itself. That the persona contains two differing aspects reminds the listener that the
persona is not necessarily so easily identifiable. The transcendent understanding embodies the
idea that a persona is not necessarily reliable, and emphasizes the need to watch out for
deception even from a persona. The idea that a persona, like a person, is defined not by what
they say, but rather what they actually do is reinforced.
116
Op. 44 is a relatively rare example of three string quartets published together as a set.
Mozart and Haydn often published string quartets in groups of six. Beethovens String Quartets
(Razumovsky) op. 59 were the first published as a set of three, and may have served as an
example for Mendelssohn. Beethoven completed these quartets during the final months of
1806.141 Mendelssohns other quartets (opp. 13, 12, and 80) were all published as single works.
It is possible that one of the reasons Mendelssohn chose three quartets for op. 44 is that the
multiple quartets allow more opportunities for an expanded view of the persona.
String Quartet in F Minor, op. 80
Mendelssohns last eighteen months were particularly busy. On 26 August 1846 he
conducted the premiere of his oratorio Elijah in Birmingham, England. The final months of
1846 were occupied by his plans to compose an opera and also with the direction of the Leipzig
Conservatory, which he had founded in 1843. In April of 1847 Mendelssohn made his final
journey to England to conduct six more performances of Elijah. While he was in England he
attended Jenny Linds London debut and a reception at Buckingham Palace, where he visited
with Queen Victoria and Prince Albert.142
On 14 May 1847 Mendelssohns sister Fanny Hensel died at her home in Berlin while
rehearsing her brothers Die erste Walpurgisnacht for a Sunday musicale. The news upset
Mendelssohn greatly. In hope of finding comfort in each others company, and in surroundings
unaffiliated with memories of Fanny, Mendelssohn and his brother Paul, along with their
families, spent the summer (June to September) in Interlachen, Switzerland. During this time
Mendelssohn composed his String Quartet in F minor, published posthumously in 1850 as op.
80, as well as songs and English motets.143
In September Mendelssohn and his family returned to Leipzig. Mendelssohn intended to
conduct the first German performance of Elijah on 3 November, but he canceled those plans
after he visited the family home on Leipzigerstrasse in Berlin. According to Sebastian Hensel,
this visit upset him again, and destroyed all the good effects produced by the journey to
141
Maynard Solomon, Beethoven (New York: Schirmer Books, 1977), 200.
142
Werner, 474-75.
143
Ibid.
117
Switzerland.144 In early October Mendelssohn was afflicted with several nervous attacks, and
on 1 November he suffered a stroke, which left him partially paralyzed. A second stroke
occurred two days later, and Mendelssohn died the evening of 4 November.145
Op. 80 is often referred to in biographical terms, and Mendelssohns contemporaries
specifically associated this quartet with Fanny Hensels death. Sebastian Hensel wrote,
Felix and Paul, with their families, met Hensel in Switzerland,
and endeavoured to find support and comfort from
imperishable nature, but they did not succeed. Any one
reading Felixs letters after Fannys death and hearing the
intensely sad, passionate F-minor quartet which he wrote in
the summer of 1847, will at once feel the change which had
come over his spirit: the blow was mortal.146
Henry Chorley (1808-72), the English writer on music, spent the last days of August with
Mendelssohn in Interlachen. Chorley reported,
He had composed much music, he said, since he had been at
Interlachen; and mentioned that stupendous quartett in F minor
which we have since known as one of the most impassioned
outpourings of sadness existing in instrumental music besides
some English service music for the Protestant church. It has been
very good for me to work, he went on, glancing for the first time
at the great domestic calamity (the death of Madame Hensel),
which had struck him down, immediately on his return from
England; and I wanted to make something sharp and close and
strict (interlacing his fingers as he spoke) so that church music
has quite suited me. Yes: I have written a good deal since I have
been here but I must have quiet, or I shall die!147
A diary entry of Moscheles dated 5 October 1847 reads,

I spent the whole afternoon with Mendelssohn. He was pleased to see me,
and we chatted confidentially on art and artists and Leipzig affairs
generally. He played me a manuscript Quartet for string instruments in F
minor, the four pieces of which are all in that somber key. The
144
Hensel, 2: 338.
145
Ibid., 2: 489-90.
146
Ibid., 2: 337-38.
147
Henry F. Chorley, Modern German Music, new introduction and index by Hans Lennenberg (New
York: Da Capo, 1973), 2: 387-88.
118
impassioned character of the whole seems to me in keeping with his
present frame of mind, shaken as he is to the hearts core by the loss of his
sister.148
Julius Benedict (1804-85), a German composer with a long career in England, expressed similar
sentiments about op. 80:
It would be difficult to cite any piece of music which so

completely impresses the listener with a sensation of gloomy
foreboding, of anguish of mind, and of the most poetic
melancholy, as does this masterly and eloquent composition.149
Stephen S. Stratton echoes earlier themes with his comment

During the summer Felix sought relief in work. Many of the greatest
creations in musical art have been wrung from the heart in times of
keenest suffering; so Mendelssohns Quartet in F minor, op. 80, written at
Interlachen, has a depth of expression, a sad passion, not found in his
earlier works of the same class.150
Mendelssohns grief at his sisters death and the F-minor quartet continue to be
intertwined. According to Werner, The Quartet is intentionally autobiographical, a great rarity
in Mendelssohn. It is one long lament for his sister; one hears everywhere the cry of grief,
hardly formalized, of the suffering creature.151 And Krummacher states the work is often
linked with the sudden death of Mendelssohns sister Fanny, or with Mendelssohns premonition
of his own death.152 Mercer-Taylor writes of p. 80, As always in times of mourning,
Mendelssohn turned towards music for consolation or at least distraction undertaking what
148
Moscheles, 289-90.
149
John Horton, BBC Music Guides: Mendelssohn Chamber Music (Seattle: University of Washington,
1972), 61.
150
Stephen S. Stratton, Mendelssohn (London: J. M. Dent & Sons, 1901), 161.
151
Werner, 496.
152
Friedhelm Krummacher, Mendelssohns Late Chamber Music: Some Autograph Sources Recovered,
Mendelssohn and Schumann: Essays in their Music and its Context, Jon W. Finson and R. Larry Todd, editors
(Durham, N. C.: Duke University Press, 1984), 80.
119
would turn out to be his last creative effort.153 And R. Larry Todd notes, Felix confessed a
desire to return to the routine of composition; to dig and turn like a worm, he observed, was
preferable to human brooding. In his diary he began to draft the strident scherzo of a string
quartet in F minor.154 From the time of its composition onward, the reception history of op. 80
indicates that it is specifically an expression of Mendelssohns grief.
The Work
Allegro vivace assai
The first movement, with a tempo marking of Allegro vivace assai, is in sonata form
(Diagram 3.21). It begins in F minor with opening material consisting of tremolos in all four
voices (see Example 3.17). At m. 10 a fragment of what becomes the principal thematic
material is found in the first violin, imitated in the second violin and viola, and in the first violin
and cello at mm. 12 and 13. This interruption ends at m. 15 with the resumption of the opening
material, which continues to m. 23. The P theme, this time treated homophonically, returns at m.
24, with accompaniment in the second violin and viola. This section remains in homophonic
texture, with the P material in the first violin supported by the three lower instruments. The
transition section, beginning in m. 41, is based on triplets alternating between pairs of
instruments. The triplets begin in the viola and cello and continue to alternate with the first and
second violins to m. 46. The dominant of A-flat major is reached at m. 51, immediately prior to
the appearance of the S material in the relative major, A-flat, in the first violin (m. 53). The S
theme is the most lyrical and rhythmically regular material in this movement. The rhythmically-
oriented closing material appears in the first violin in m. 69. At m. 73 whole notes, heard in the
first violin and followed by the three lower instruments one measure later, abruptly stop the so
far constant motion of this movement. These measures resolve back to A-flat major by m. 76.
The closing material returns in the cello at m. 78, and it is quickly heard homorhythmically in all
parts (mm. 80-81). The whole notes from m. 73 are recalled at m. 82.
153
Peter Mercer-Taylor, The life of Mendelssohn (Cambridge: Cambridge University Press, 2000), 210-11.
154
120
121
Time Thematic
Signature material
Intro- Allegro
2/2 O f 1-9
duction vivace assai
frag. of P
10-15
imitative
O 15-20
122
Time Thematic
Signature material
Section 1 Homo-
(expo, part P 24 phonic
1) texture
T 41 triplets
V/A 51
Section 2
(expo, part S A 53
2)
K 69
whole
notes
73
cessation
of motion
K 78
whole
82 notes
recalled
Section 3
O B 96
(develop)
111
chromatic
150-61
harmonies
Section 4
P F 173
(recap)
T 190
N 196
123
Time Thematic
Signature material
S 215
K 229
whole
233
notes
O 253
f 259 stretta
Homo-
Coda Presto 299 phonic
texture
The development section begins at m. 96 with a repetition of the opening material clearly
in B-flat major at m. 102. At m. 111 P again appears, followed imitatively by the second violin
and viola (m. 112) and the cello and the first violin (m. 113). Throughout this section (mm. 111-
141) only the first violin has a rapidly-moving line, while the other instruments provide an
accompaniment derived from the P material. At m. 129 the second violin and viola are paired,
arriving at the key of D major. Fragments of P are heard in the second violin and viola to m.
147. Octave double stops are found in the first violin (m. 143). The three lower instruments
enter with tremolos reminiscent of the O material at mm. 144, 148, and the cello alone has
tremolos at m. 150. An eleven-measure section (mm. 150-161) begins that is predominantly
homorhythmic with the first violin staggered. It is harmonically chromatic, moving through the
minor dominant of F, the dominant of B-flat major, and a diminished-seventh chord in C major
before the opening material reappears at m. 161 on a diminished-seventh chord in F minor. This
section is followed immediately (m. 173) by the recapitulation, with the P theme in the tonic key.
This return is of material from m. 24. The T material returns at m. 190 with the triplets treated in
the same manner as in the exposition. At m. 196 a new theme is heard in the cello, underlying
the T theme in the upper voices. This theme consists of half notes ascending in thirds and
124
eventually leads to a restatement of the S material in the parallel major, F, at m. 215. After this
point the recapitulation follows the events of the exposition. The closing material returns (m.
229), with a similar whole-note interruption (m. 233). The opening material resumes at m. 253,
leading to the coda at m. 259, in F minor.
The coda closely follows the closing section of the exposition, to m. 270, where there is a
new tempo indication of Presto (see Example 3.18). This section is a stretta, a climatic,
concluding section in a faster tempo comparable to those found in the finales of Italian opera
and in the conclusions of such instrumental works as the final movement of Beethovens Fifth
Symphony. 155 The first ten measures are homorhythmic and largely in octaves. At m. 299 the
texture becomes homophonic, with rapid eighth notes in the first violin, while the three lower
instruments continue with the figure heard in the first part of the stretta. The movement
concludes at m. 323.
Allegro assai
The second movement, a scherzo in composite ternary form, opens with an A section in
rounded binary form (Diagram 3.22). The tempo marking is Allegro assai, and the P material is
stated immediately in the key of F minor. This syncopated theme (mm. 1-16) is heard in the first
155
Don Michael Randel, The New Harvard Dictionary of Music (Cambridge, Mass.: Harvard University
Press, 1986), 807.
125
violin against a homorhythmic accompaniment in the three lower voices. After a double bar with
repeat sign (m. 17) there is an eight-measure section featuring material based on the syncopated
P theme. Measures 25-32 contain new material (N), in C minor, presented in octaves in all four
voices. At m. 39 the second violin and viola are in parallel thirds with a variation of the N
material. The key of F minor returns at m. 47, preparatory to the return of the P material at m.
51. A return of material from mm. 13-15 is heard at m. 62 with a fragmented theme in the first
violin with homorhythmic accompaniment. Closing material begins at m. 70. The A section
concludes at m. 85. The B section begins in F minor (m. 86) with a repeated figure in octaves in
the viola and cello, based on the N material from the A section (see Example 3.19). After a
complete statement of the ostinato, the S material (m. 103) appears in parallel sixths in the first
and second violins. The entire A section returns in F minor at m. 179. At m. 264 there is a coda
featuring the N1 material from the B section. This material returns as it was originally presented,
in octaves in the viola and cello. The S material appears with the ostinato, again in parallel
sixths, in the first and second violin (m. 266). At m. 280 the viola, which had moved in octaves
with the cello, separates from the cello through a one-measure displacement. At m. 289 there is
a subdominant in eighth notes in the upper instruments over a tonic pedal in the cello. At m. 293
the viola has an A natural, creating an F major chord. The cello has a fragment of the ostinato at
m. 296, followed by another F major chord in the upper three instruments (m. 297). The
movement ends with all instruments on a pizzicato F in parallel octaves.
126
Time Thematic
Signature material
Allegro
A 3/4 P f 1-16
assai
16 repeat sign
P-derived 17-24
N C 25-32
vln. & vla.

N1 39 In parallel
3rds
f 47
127
Time Thematic
Signature material
P f 51
material
62 from mm.
13-15
k 70
B N1 f 86 ostinato
vlns. 1&2
S 103 in parallel
6ths
P f 179
N1 264 ostinato
parallel
S 266
6ths
1-measure
280 displaceme
nt
IV 289
F: I 293
F: I 296
F in all
F 297 instrument
s
128
Adagio
The third movement is a rondo in A-flat major (Diagram 3.23).156 It opens with a tempo
marking of Adagio, with the expressive P material in the first violin. The transition begins at m.
17 with a non-melodic ascending line in the first violin that is supported by a gasping
homorhythmic accompaniment in the three lower instruments. The harmony moves to E-flat
minor, and eventually to the dominant of E-flat major. The first episode, with its own
shuddering theme (X), begins in m. 39, in E-flat major. A rhythmic change occurs at the first
episode, from sixteenth notes to dotted sixteenth and thirty-second notes. The rondo section
returns briefly in m. 50, with the R material in the tonic, A-flat major. The X material returns
briefly, this time passing through the distant key of E major (m. 71). This is the most dissonant
section of the movement. The theme from the first episode returns at m. 94. After a half
cadence in m. 107 the R theme returns (m. 109) in the first violin. The final measures are
marked dolce and feature the first violin.
Time Thematic
Signature material
Rondo Adagio 2/4 R A 1-16
T E,B 17-38
X E 39
R A 50
X E 71
156
Moscheles asserts that this movement is in F minor (Moscheles, 289-90). Either Moscheles was
mistaken or Mendelssohn substituted the A-flat movement for an earlier one.
129
Time Thematic
Signature material
X 94
R A 109
Finale: Allegro molto

The last movement of op. 80 is in sonata form with a tempo marking of Allegro molto
(Diagram 3.24). It is in F minor with the P material beginning in the second measure. The cello
enters first with a tremolo, the P material is heard in the first violin, and the second violin and
viola enter in mm. 2 and 3 respectively. This syncopated theme comes to a half cadence in m. 9,
followed by sforzando tremolos alternating between the cello (mm. 9 and 11) and the three upper
instruments (mm. 10 and 12). The P theme is repeated at m. 18 and there is a deceptive cadence
in m. 30 before moving to the transition at m. 31. The transition consists predominantly of
tremolos alternating between the cello, and the violins and viola. The secondary thematic
material (S) is a lyrical, four-measure theme in A-flat major heard in the first violin and imitated
in unison by the second violin and viola (m. 49). The development section begins at m. 81, with
tremolos in the cello followed by a variation of the P material in the first violin, in m. 82 in the
second violin, and in m. 83 in the viola. The development continues with sections of sforzando
tremolos alternating with variations of the P material. New material (N) appears at m. 214 in the
first violin, and this is repeated four times to m. 236. The retransition begins at m. 237, with
material that has the illusion of motion; this material is animated but with no rhythmic direction.
The loss of rhythmic forward motion, transparent texture, and soft dynamics make this section of
the development a low point. It leads to the dominant of F minor at m. 265, followed by the
recapitulation at m. 269. The P material is heard in the second violin and viola, with tremolos in
the cello. The first violin now has a prominent ascending triplet motion (see Example 3.20).
The triplets are eventually taken up by all the instruments in turn, in a transparent texture
130
consisting of whole notes in the three other instruments. The coda begins at m. 375 with a
restatement of both the P material and the triplet theme. The triplets become homorhythmic in
all instruments at m. 395 to m. 400, where all motion stops with the appearance of half notes,
with the dynamic marking sforzando, in all parts. This pattern of alternating motion and stillness
continues to m. 405. Half notes are found in the second violin, viola, and cello, while the first
violin has an ascending triplet line. At m. 425 triplet eighth notes reappear in the first violin.
The P material returns in the second violin, viola, and cello at m. 427. The triplets in the first
violin continue to ascend to the upper reaches of the instruments range. The movement ends
with fortissimo chords at m. 461.
131
132
133
Time Thematic
Signature material
Section 1
Allegro tremolo in
(expo, part 2/4 f 1
molto cello
1)
P f 2
V 9
sforzando
9-12
tremolos
P 18
T 31
134
Time Thematic
Signature material
Section 2
(expo, part S A 49
2)
Section 3
(develop- P1 81 tremolos
ment)
N 214
illusion of
237
motion
retransition f: V 265
vln 1
Section 4
P F 269 ascending
(recap)
triplets
homo-
rhythmic
Coda P 395-400
ascending
triplets
ascending
425
triplets
P 427
This movement, in particular, expresses tension in several ways. Dynamic markings of

pianissimo and fortissimo are often sharply juxtaposed, creating a feeling of agitation.
Sforzandos increase this agitated effect. The almost incessant use of syncopated material
provides rhythmic propulsion to this movement that also generates tension.
135
Mendelssohns contemporaries used many of the same expressions to describe op. 80.
Hensel refers to op. 80 as intensely sad, passionate. Chorley states that it is one of the most
impassioned outpourings of sadness existing in instrumental music. According to Moscheles
op. 80 has an impassioned character. Julius Benedict found that the work has the sensation of
gloomy forboding, of anguish of mind. Stratton refers to a sad passion in the string quartet.
The terms passion or impassioned, and sad are always included in these descriptions.
Mendelssohns own desire, according to Chorley, to create something sharp and close and
strict, contrasts with passionate and sad to create a paradox.157 Convention and form are
attributed to classicism, while nineteenth-century composers specifically employed
contradictions of convention and form to achieve expression. Strictness and impassioned
emotion are mutually exclusive, and the simultaneous exercise of both constitutes the
contradicting paradox of the quartet.
Four passages in op. 80 illustrate the paradoxical juxtaposition of both passion and
strictness. The first of these occurs at the beginning of the first movement (Example 3.17). The
rapid tempo and use of tremolo are conventional expressions of agitation. The statement of P in
m. 9 is a polyphonic interruption of an otherwise homorhythmic texture, and this interruption
creates tension that the return of the opening material does nothing to dispel. The agitated nature
of the O material resembles a fantasia, while the strictness of the contrapuntal sections abruptly
pulls the content back into a strict and structured texture. The work opens less like a rigorously
structured sonata form (which it is) than like the more expressive fantasia.
The second passage, also in the first movement, occurs at m. 290, and is the stretta
section of the coda (Example 3.18). It employs a rapid tempo (Presto) with fortissimo dynamics,
and it presents its first nine measures (mm. 290-298) in parallel octaves. In addition, the second
violin, viola, and cello are in homorhythm throughout the remainder of the movement. Passion
and energy are demonstrated in the rapid tempo and loud dynamics, as well as through the
regular rhythmic structure. Sharpness and strictness are also evident, through the uniform
parallel octaves. Each part is locked rigidly in step with the other parts.
A third example is found in the trio section of the second movement (Example 3.19).
The chromaticism of the ostinato in the piano dynamic, and the low registers of the viola and
157
Hensel, II: 338, Chorley, 387, Moscheles, 290, Benedict quoted in Horton, 61, and Stratton, 161.
136
cello express an intense feeling. The intensity is furthered by the crescendo and decrescendo in
mm. 96-99, and the awkwardness of the rhythmic shift also adds to the effect. The ostinato itself
provides structure through a repeated melodic and rhythmic figure that exemplifies strictness.
The final instance is the coda of the fourth movement (Example 3.20). The triplet motion
suddenly appearing in the first violin over statements of the P theme, the alternating measures of
frantic motion and stasis found in mm. 395-405, and the extremes in range all produce an effect
of passion and anguish. Sharpness and strictness come from the use of homorhythm. Part of that
passage is not only in homorhythm but even more closely tied by parallel octaves. Homorhythm,
sometimes in parallel intervals, appears consistently in the lower instruments until the end,
producing a frantic, yet at the same time a constrained effect.
One inherent way in which op. 80 expresses sharpness, closeness, and strictness is
through the genre itself. The genre history of the string quartet indicates a relatively strict formal
structure such that expressions of personal emotion in the genre (as, for example, in some of
Beethovens late quartets) seem conspicuously extrageneric. All four movements of this string
quartet are in established forms. The first movement is a fast-paced sonata form, the second is in
composite ternary form, the third is a slow five-part rondo, and the quartet concludes with a
sonata form marked Allegro molto. The form of the quartet thus reins in the emotionalism
inherent in the content of the work. This quartet incorporates expressions of passion and
intensity into the form, and then subjects these to the structure and restraint of the formal
conventions of the genre.
Thus the overarching contradiction in the world of this work is the genre itself to contain
the expression of intimate, profound feeling, for a string quartet is not the obvious choice to
express intensely personal emotions. More than most genres it tends to sublimate emotive
content, and it is not a genre that necessarily and self-evidently pushes emotions out to the
forefront. Further, Fanny herself never completed a string quartet.158 As a pianist she would not
have played one, again making the choice of genre as an expression of her brothers grief for her
unexpected.
158
Fannys published works include songs for voice and piano, piano pieces, and a piano trio. While she
did work on a string quartet in 1834, it was left incomplete and never published. See The Letters of Fanny Hensel to
Felix Mendelssohn, 681.
137
The incongruity of the genre of op. 80 has often been remarked upon. Several scholars
have commented that the genre of string quartet does not provide a large enough scope for this
piece. Werner writes, Only in symphonic garb would the work have the desired effect.159
Radcliffe finds that regarded purely as quartet writing, this is not a good work; and it seems
more than any of the others to cry out for a spacious medium; specifically he finds that the
finale like the first movement, is frankly orchestral in texture, but has real energy and
passion.160 According to Vitercek, The part-writing is often so stark that the work looks (and
to a certain extent sounds) more like a sketch for a quartet than a finished work.161 All of these
statements indicate a perceived discrepancy between the genre and the content of op. 80.
Persona
Unlike in other string quartets by Mendelssohn the persona in this case is identified not
only through the music itself but also by the comments made by the composers friends and
contemporaries. All of the individuals who have written about op. 80 have assumed the persona
is a mourner, and, as we noted at the outset, Mendelssohns contemporaries viewed this quartet
as an expression of grief. According to Sebastian Hensel, Any one hearing the intensely sad,
passionate F-minor quartet which he wrote in the summer of 1847, will at once feel the change
which had come over his spirit: the blow was mortal. Moscheles wrote about this quartet that
The impassioned character of the whole seems to me in keeping with his present frame of mind,
shaken as he is to the hearts core by the loss of his sister. Julius Benedict commented that It
would be difficult to cite any piece of music which so completely impresses the listener with a
sensation of gloomy foreboding, of anguish of mind, and of the most poetic melancholy, as does
this masterly and eloquent composition. And Stephen S. Stratton believed that Many of the
greatest creations in musical art have been wrung from the heart in times of keenest suffering; so
Mendelssohns Quartet in F minor, op. 80, written at Interlachen, has a depth of expression, a sad
passion, not found in his earlier works of the same class.162 Further, according to an
anonymous review published in Dwights Journal of Music, the quartet
159
Werner, 496.
160
Radcliffe, 101-2.
161
Vitercek, 314.
162
Hensel, II: 338, Moscheles, 290, Benedict quoted in Horton, 61, and Stratton, 161.
138
was written under the poignancy of the grief occasioned by a much-loved
sisters loss; it is heard under the regret, which nothing but the brightness
of his genius that evokes it can dissipate, for the loss of Mendelssohn; it
may be strictly called her Monody; it must be felt to be his own. By the
power of his genius the great musician stimulates, enforces our
sympathies; our appreciation of this power defines their object; we cannot
but feel all the beauty and all the pathos it embodies of his music; that we
feel it and that we know it to be him who causes us to feel it, makes him
the subject of the sorrow that it sings.163
This statement is not about the biographical details of Mendelssohns life, but rather about the
identity of the persona as perceived by Mendelssohns contemporaries. A close examination of
the above quote makes this clear. It may be strictly called her Monody indicates that the
reviewer identifies the persona as a grief-stricken Mendelssohn mourning the loss of his sister.
Mendelssohns fictionalized persona is the voice of the sorrow of the quartet.
This quote also indicates that Op. 80 can be experienced by later listeners as a lament for
Mendelssohn himself. It may be strictly called her Monody; it must be felt to be his own
makes the audience the mourners for Mendelssohn himself. That we feel it and that we know it
to be him who causes us to feel it, makes him the subject of the sorrow that it sings reinforces
the reviewers identification.
Although Mendelssohn creates the persona out of the paradoxes specific to the work, this
reviewer, as well as others, identifies the persona from a fictionalized autobiography rather than
from the composers actual biography.
Transcendence
From Mendelssohns biography we know that his reaction to grief often included
renewed attention to work. This was demonstrated as early as 1827, when the eighteen-year-old
Mendelssohn, at the deathbed of his friend August Hanstein, composed a fugue in E minor
eventually published as op. 35 no. 1.164 After his fathers death in 1835, in a letter to Julius
Schubring, he wrote, The only thing that now remains is to do ones duty, and this I strive to
accomplish with all my strength, for he would wish it to be so if he were still present, and I shall
never cease to endeavour to gain his approval as I formerly did, though I can no longer enjoy
163
Dwights Journal of Music 3/8 (23 May 1853), 61.
164
139
it.165 Mendelssohn stated these sentiments even more firmly in a letter to Pastor Albert Bauer,
in which he wrote,
As for myself, when I tell you that I strive to do my duty and thus to win
my fathers approval now as I always formerly did, and devote to the
completion of St. Paul, in which he took such pleasure, all the energies
of my mind, to make it as good as I possibly can, when I say that I force
myself to the performance of my duties here, not to pass quite unprofitably
these first days of sorrow, when to be perfectly idle is most consonant to
ones feelings, that, lastly, the people here are most kind and
sympathizing, and endeavor to make life as little painful to me as they can,
you know the aspect of my inner and outer life at this moment.166
Mendelssohns response to grief is clearly articulated; even though he found himself inclined to
idleness, work, in this situation especially, is a moral imperative.
The idea of work as a response to strong emotion remained constant throughout
Mendelssohns life. After his sisters death he wrote, I force myself to be busy in the hope that
hereafter I may become so from inclination, and that I shall take pleasure in it.167 Lampadius
wrote, It is evident that he sought alleviation for his grief in creative activity. At first he did not
succeed in producing new music; he wrote in a letter, during the first weeks after Fannys death:
I can only work mechanically.168
The transcendent content in this piece likewise demonstrates Mendelssohns response to
grief. Rather than sinking into despair at the death of his sister, Mendelssohn chose to create a
sharp and close and strict piece, in this case a string quartet. The personas response to strong
emotion is not to deny the feeling but to create something that expresses itself in a rigorously
restrained manner. The four musical examples examined earlier demonstrate how passion and
sadness can be contrasted with sharp and close and strict music. In each example the musical
texture or structure reins in the emotional aspects of the music. The expression of intense
165
Letters of Felix Mendelssohn Bartholdy from 1833 to 1847, edited by Paul Mendelssohn Bartholdy and
Carl Mendelssohn Bartholdy, translated by Lady Wallace (Freeport, N. Y.: Books for Libraries, 1864, reprinted
1970), 85.
166
Ibid., 87-88.
167
Schima Kaufman, Mendelssohn: A Second Elijah (New York: Thomas Y. Crowell, 1934, and N. Y.
Tudor, 1936, reprinted Westport, Conn.: Greenwood, 1971), 305.
168
Wilhelm Adolf Lampadius, Life of Felix Mendelssohn Bartholdy, William Leonard Gage, translator
(London: W. H. Reeves, 1877), 135.
140
emotion within a work that tends to enforce strict traditional conventions is a moral decision; it
prevents sinking into an abyss of despair, which Mendelssohn would have viewed as a moral
failing. At the same time, however, the genre, with its conventions, allowed him to create a work
that expresses itself intensely, but under tight restraint. In the case of op. 80 the genre of the
string quartet, with its scoring limitations and conventional formal characteristics, enforces the
restraint, while the content expresses sad and passionate emotion.
141
CHAPTER 4
ROMANTIC IRONY IN ROBERT SCHUMANNS STRING QUARTETS
OP. 41 NOS. 1-3
Like Mendelssohns op. 44, the string quartets of Robert Schumanns op. 41 were
published as a set. Unlike Mendelssohns op. 44, they were composed within a very short time,
only two months. In the following discussion, therefore, the section on the Perceivable World of
the Work will serve for all three quartets of op. 41, followed by individual discussions of The
Work, Contradictions in the World of the Work, and Paradoxes Specific to the Work. The
Persona and Transcendence sections found at the end will, like the Perceivable World of the
Work, serve for all three quartets.
The Perceivable World of the Work: op. 41 nos. 1-3
On 18 February 1842 Robert and Clara Schumann left Leipzig on a concert tour of
Bremen, Oldenburg, Hamburg, and Copenhagen. The primary purpose of the tour was to
promote Claras concert career, but Schumanns music was also performed; his First Symphony
was on several programs. Robert, however, found it difficult to thrive in the shadow of his
wifes fame. That and his responsibilities to the Neue Zeitschrift fr Musik (he had been the
editor since 1835) prompted him to return home from Hamburg on 12 March. Clara continued
the tour as planned, and the two were not reunited until 25 April. 169
After his return to Leipzig alone, Schumann concentrated on exercises in counterpoint
and fugue.170 During this time he also studied the string quartets of Haydn and Mozart in score.
The quartets of Haydn, Mozart, and Beethoven were heard at regular quartet gatherings in
Leipzig.171 In a series of private morning gatherings quartets were played by the violinist
Ferdinand David and other members of the Gewandhaus Orchestra.172 Quartets played included
169
John Daverio, Schumann, Robert, in The New Grove Dictionary of Music and Musicians, second
edition, edited by Stanley Sadie (London: Macmillan, 2002), 22: 776.
170
John Daverio, Robert Schumann: Herald of a New Poetic Age (Oxford: Oxford University Press,
1997), 244.
171
Linda Correll, Structural Revisions in the String Quartets of Robert Schumann, Current Musicology 7
(1968), 89.
142
those by established composers, such as Spohr and Cherubini, and also those by a younger
generation, such as the Dutch composer Johann Verhulst (1816-91), the German composer
Leopold Fuchs (1785-1853), and Schumanns friend the German composer and critic Hermann
Hirschbach (1812-88).
Schumann had for some time planned to embark on quartet-writing. Already in March of
1838 he had written that he was looking forward to writing string quartets, since the piano is
getting too limited for me.173 In a letter to Clara dated 11 February 1838 Schumann wrote, For
the past four weeks I have done almost nothing except to compose. Much still lies within me.
Next I will write three string quartets.174 In the summer of 1839 he began two quartets, in E-flat
major and D major. At about this time, however, Schumann and Clara had to resort to legal
action for permission to marry over her fathers objections. These distractions prompted
Schumann to write to Clara on 13 June 1839, Am I not really diligent now? But I cannot think
about composition at all. I have begun two quartets I can tell you, as good as Haydn and now
I lack time and inner peace nor will the next little while bring any of these.175 The two
quartets were never finished.
In the summer of 1842, however, all three quartets that made up Schumanns op. 41 were
composed within a period of two months. On 4 June 1842 Schumann began sketching op. 41 no.
172
Five years earlier, in 1837-38, Schumann had written that the other members of the quartet were the
violinist Karl Wilhelm Uhlrich, the violist Karl Traugott Queisser (1800-46), and the cellist Friedrich Wilhelm
Ganser (1805-59). See Schumann, On Music, and Hermann Mendel, Musikalisches Conversations-Lexikon: Eine
Encyklopdie der gesammten musikalischen Wissenschaften (Berlin: Robert Oppenheim, 1886), 8: 201 and 4: 354.
In an entry in their marriage diary Clara wrote on 13 September 1842, My Robert surprised me with many
things, but what gave me the greatest pleasure was the present of his 3 quartets, which he had David, Wittmann, and
others play for me that very same evening. Presumably that was the cellist Franz Carl Wittmann (1814-60). See
The Marriage Diaries of Robert and Clara Schumann: From Their Wedding Day through the Russia Trip, edited by
Gerd Nauhaus, translated by Peter Ostwald (Boston: Northeastern University Press, 1993), 172.
173
Daverio, Robert Schumann,184, also 246, and Jugendbriefe, 280.
174
Seit 4 Wochen habe ich fast nichts als componiert. Vieles liegt noch in mir. Das Nchste ich mache 3
violin quartetten. Robert and Clara Schumann, Briefwechsel: Kritische Gesamtausgabe, edited by Eva
Weissmueiler (Frankfurt: Stroemfeld/Roter Stern, 1984), 1:100.
175
Bin ich nicht recht fleiig jetzt? Aber zum Componiren kann ich gar nicht kommen: zwei Quartette
habich angefangen ich kan Dir sagen, so gut wie Haydn und nun fehlt es mir doch Zeit und innerer Ruhe und
die nchste Zeit wird diese auch nicht bringen. Kritische Gesamtausgabe 2: 570-71.
143
1 in A minor. The sketches for op. 41 no. 2 in F major commenced on 11 June.176 After both
quartets were sketched, Schumann went back and completed them. The final quartet, op. 41 no.
3 in A major, was composed between 8 and 22 July.177 All three quartets were completed by 29
July. Later in that same year Schumann also composed the piano quintet in E-flat major, op. 44;
the piano quartet, op. 47; and, by 28 December, the Phantasiestcke for violin, violoncello, and
piano, op. 88. In six months Schumann had composed six important chamber works.
Schumann greatly admired Mendelssohns music, especially his string quartets.178
Schumanns three quartets of op. 41 were dedicated to his friend Felix Mendelssohn Bartholdy
with heartfelt respect, and Mendelssohn appears to have approved of them.179 On 3 December
1847, in a letter to the publisher Raimund Hrtel, Schumann wrote,
My quartets, which you published, have regained a special meaning for me

through the death of Mendelssohn, to whom they are dedicated. I still
consider them the best works of my earlier period, and Mendelssohn often
said the same to me.180
Another element of the perceivable world of the work is the changing nature of
performance situations for the string quartet. As we have had occasion to observe in the
previous chapter, throughout the beginning decades of the nineteenth century string quartets
were intended for performance in a private home, for family and friends, or for a small invited
audience. Schumann wrote in 1838, the four members of a string quartet, unlike the members
of a symphony orchestra, constitute their own public.181 By the end of the 1830s the
performance occasions for string quartets were changing. In Leipzig especially, quartets were
176
Gerald Abraham, Schumann, Robert, in The New Grove Dictionary of Music and Musicians, edited by
Stanley Sadie (London: Macmillan, 1980), 16: 841.
177
Marriage Diary, 159.
178
Daverio, Robert Schumann, 253.
179
Tagebcher, 249.
180
Meine bei Ihnen erschienenen Quartette haben durch den Tod Mendelssohns, dem sie gewidmet sind,
besondere Bedeutung fr mich wiedergewonnen. Ich betrachte sie noch immer als mein bestes Werk der frheren
Zeit, und Mendelssohn sprach sich oft in demselben Sinne gegen mich aus. See Robert Schumann, Briefe: Neue
Folge, edited by F. Gustav Jansen (Leipzig: Breitkopf und Hrtel, 1904), 450. Mendelssohn had died the previous
month.
181
GS I:336, quoted in Daverio, 541-42.
144
performed in public venues. This changing aspect of quartets would inevitably affect their
composition. 182
One of the first performances of op. 41 no. 1 took place on Sunday, 8 January 1843, as
part of a Musikalische Morgenunterhaltung at the Leipzig Gewandhaus. The program also
included Schumanns Piano Quintet, Lieder by both Robert and Clara, Beethovens A-major
Piano Sonata op. 101, and a Prelude and Fugue by Bach, as well as his Ciaccona for solo violin.
This was not a public concert; only those invited were permitted to attend.183 Thus this
performance represents the changing performance venues for string quartets. It was not domestic
music-making for friends and family, and neither was it a public performance, but rather it must
be considered somewhere between those two. Another mention of a performance of the quartets
comes from 29 September 1842, when Schumann, in an entry in the marriage diary, wrote,
About September I still have to report that on the 29th David played
my quartets for Mendelssohn, who passed through here after his
Switzerland journey. The only ones present were Hauptmann, who
now [is] cantor at the Thomas School, and Verhulst; a small but good
audience, on which the music did seem to have an effect.
Mendelssohn told me later while leaving that he cannot really explain
to me how much he likes my music. That made me very happy; since
I consider Mendelssohn the best critic; of all living musicians he has
the clearest vision.184
This example again highlights the changing nature of the performance of string quartets; the
audience is a small group of invited individuals, either professional musicians or composers.
The occasion was not a public event but more closely resembles a private conference of
professional musicians.
Schumanns aesthetics constitute another part of the perceivable world of op. 41.
Schumann had firmly held views on the subject of quartet aesthetics. Particularly important to
him was the independent nature of the individual voices and the contrapuntal integrity of the
whole.185 He felt strongly enough about this to write to Hrtel,
182
Daverio, Robert Schumann, 254-55.
183
Ibid., 254.
184
Tagebcher, 249.
145
The published parts of such works [op. 41 nos. 1-3] seem to me like a man
split into four segments: one cant know how to grasp or seize hold of
him. . . . There are seldom four musicians who, without a score, would
know how to understand the difficult [motivic/contrapuntal] combinations
of musical works like these even after several play-throughs. What is the
result? The players set the pieces aside after a cursory reading. With a
score in hand they could more easily do justice to the composer.
Therefore, Im certain that a published score would help the sale of the
parts.186
According to Schumann it is imperative that each player contribute to the whole in a meaningful
manner. In order for this to happen, it is necessary that each player understand the interplay of
the parts and the relationship of each part to the whole. To that end Schumann recommended the
unusual step of publishing the string quartets score, not just the parts.
Schumann also held a determined position regarding the genre history of the string
quartet. He considered it a genre with not only a rich history but also an important future. The
composer of string quartets must know the history of the genre, most especially the quartets of
Haydn, Mozart, and Beethoven.187 Beethoven in particular has a unique place in the history of
the quartet. In a review of Hirschbachs quartets Schumann wrote,
He hopes to merit the title of poet through his avoidance of stereotypical
forms; in this, Beethovens last quartets serve as the starting point for the
new poetic era in which he plans to distinguish himself.188
Schumann maintained this as an ideal for all composers of string quartets. He believed that we
should not repeat the same thing for centuries, but should also think about creating something
new.189 The composer, therefore, cannot merely imitate older models; he or she must be
capable of new innovations creatively drawn from the works of past masters.
In 1842 Schumann wrote of the string quartet in Germany,
185
Daverio, Robert Schumann, 248.
186
Ibid., 542.
187
Ibid.
188
Ibid., 266.
189
Wir sollen nicht jahrhunderte lang dasselbe wiederholen und auch auf Neues bedacht sein, in Neue
Zeitschrift fr Musik 10 (1839), 134, quoted in Nicholas Marston, Schumanns Monument to Beethoven, in 19th-
Century Music 14/3 (1991), 248.
146
The Quartets of Haydn, Mozart, Beethoven! Who does not know them
and who dare cast a stone at them? Though it is definite evidence of the
indestructible vitality of those creations that, after the lapse of half a
century, they still delight all hearts, it is not to the credit of the recent
artistic generation that in so long a period of time nothing comparable has
been created. Onslows quartets alone found a response, and after him,
Mendelssohns, whose aristocratic-poetic nature was especially adapted to
this musical form; moreover in Beethovens later quartets treasures may
be found unknown as yet to the world, and among which we may search
for many years. We Germans are, therefore, not poor in quartets; but very
few among us have known how to augment the existing capital.190
String Quartet in A Minor, op. 41 no. 1
The Work
Andante espressivo
The first movement is in sonata form, and although it begins in the key of A minor, the
main body of the movement is in F major (see Diagram 4.1). The stately and expressive 29-
measure opening section, labeled Introduzione, has a tempo marking of Andante espressivo and
opens in imitative texture. A four-measure transition following that leads to the exposition,
which begins (m. 34) in F major. The principal thematic material has four components, Pa and
Pb, and Pc and Pd (see Example 4.1). This lively material, marked Allegro, contrasts sharply
with the expressive introduction. The Pa and Pb material appear in mm. 34-35. Motive Pc and
Pd first appear in mm. 50-51. The entire tonic area (mm. 34-75) constitutes a sort of rounded
binary form, tonally closed at the end. This leads the listener to anticipate a variation form or
rondo form, rather than a sonata form. At m. 76 the transition begins, with an imitative treatment
of motive Pb set in a manner that suggests a dance. The secondary key area is reached at m. 99,
with a restatement of Pc and Pd in C major. There is no independent secondary thematic
material. The exposition continues with restatements of Pc and Pd through the first ending. The
development (m. 151) initially has restatements of Pa and Pb in A-flat major, and all four
segments of the principal thematic material appear by m. 166, used in imitation, juxtaposition,
and repetition. A ritardando followed by an a tempo indicates a false recapitulation of Pc and
Pd, not in the tonic but in A-flat minor (m. 207). The recapitulation, when it eventually occurs
190
Robert Schumann, On Music and Musicians, edited by Konrad Wolff and translated by Paul Rosenfeld
(Berkeley and Los Angeles: University of California Press, 1946), 68.
147
(m. 231), is an almost exact repetition of the beginning of the exposition. At m. 273, although
there is no actual movement to a new key, transitional material is treated imitatively, again based
on motive theme Pb. A restatement of Pc and Pd follows (m. 317) in the tonic. The movement
concludes quietly with multiple restatements of Pa.
DIAGRAM 4.1: Robert Schumann, String Quartet op. 41 no. 1, mvt. 1.
Time Thematic
Signature material
Introduzion Andante imitative
2/4 O a 1
e espressivo texture
transition T F 30
mm. 34-75
Section 1 a rounded
binary form,
(expo, part Allegro 6/8 Pa + Pb F: V 34
tonally
1) closed at
end
Pc + Pd 50-51
transition
transition T 76 through
imitation
Section 2
(expo, part Pc + Pd C 99
2)
129
in imitation,
Section 3 Pa, Pb,
151-206 juxtapositio,
(develop) Pc, Pd
+ repetition
rit.
followed
Pc + Pd A 207 false recap
by a
tempo
Section 4
a tempo Pa + Pb F 231
(recap)
148
Time Thematic
Signature material
Pc + Pd F: V 267-68
transitional
material but
t F 293 no
harmonic
mvt.
Pc + Pd F 317
Pa F 368-73
149
EXAMPLE 4.1: Robert Schumann, String Quartet op. 41 no. 1, mvt. 1, mm. 34-55.
Scherzo
The second movement is a Scherzo in A minor in the style of Mendelssohn (see Diagram
4.2). The movement begins with a fast tempo (Presto) in 6/8 meter. The dynamics and
articulation also contribute to the Mendelssohnian elfin-scherzo style; the effect arises from the
abrupt juxtaposition of loud and soft dynamics, and much use of sforzando, as well as through
150
the articulation, which contrasts staccato and slurred notes. The structure is a symmetrical
seven-part rondo (RXRYRXR).
Time Thematic
Signature material
Scherzo rounded
Presto 6/8 R a 1-10
(Rondo theme) binary
E 11-18
a 18
mm. 27-34
T 27
repeat
mm. 35-46
repeat,
1st episode X G 35
followed by
a 2nd ending
R a 55
Intermezzo rounded
2/2 Y C 82-114
(2nd episode) binary
mm. 98-113
repeat,
followed by
a 2nd ending
6/8 R a 113
X G 148
R a 164
151
The rondo theme itself (section R) has an ambiguous design. At first the form seems to
be rounded binary. After the initial homorhythmic three-measure opening the rondo theme
begins in the tonic. At m. 11 the key is E major (the dominant) and a secondary theme enters,
followed by the return of the rondo theme in A minor (m. 18). While this E major section (mm.
11-18) could be thought of as the second part of a binary form, it might also be considered the
contrasting (B) section of a ternary form. The harmony indicates a binary form, but the non-
developmental and contrasting treatment of the material itself contributes to the perception of
ternary structure. A transition to G major begins at m. 27 and continues to m. 35, where the first
episode (section X) begins. This section, m. 35 through the first ending, is in G major with
frequent emphasis on the Neapolitan. This section has a short, choppy theme, the first violin
alternating eighth notes with the three lower instruments. After the transitional second ending
the introductory measures return, leading to a return of the rondo theme (m. 55).
After the restatement of the rondo section in the tonic at m. 55, the second episode,
section Y, appears (mm. 82-114). This section is labeled Intermezzo. It adopts a rounded binary
form and contrasts with the previous sections in that it is in duple time and a slightly slower
tempo, as well as in its slightly more lyrical melody, heard in the first violin. This section begins
in C major (the relative major of the main key of the movement) and tonicizes G major (the
dominant of C) before returning to C major. The rondo theme returns at m. 113 and is an almost
exact repetition of the opening rondo section. Section X, again in G major, appears at m. 148,
followed by a return of the rondo theme at m. 164. The overall design gives an impression of a
seven-part rondo that could almost be heard as a ternary form with the Y section serving as a
somewhat independent middle part i.e., a Trio for a three-part Scherzo movement.
Adagio
The third movement, marked Adagio, is an arioso and, like the second movement, is a
symmetrical seven-part rondo form.191 The movement opens with introductory material in D
minor (see Diagram 4.3). In the first measure the cello enters with a sweeping ascending
passage, followed by an intense and impassioned diminished-seventh chord sounded in the three
lower instruments. The final measure (m. 3) of the D-minor introduction has the same ascending
passage found in m. 1, this time in the first violin. At m. 4 the cantabile and stately rondo theme
191
Daverio analyzes this movement, as well op. 41 no. 3 movement 3, as strophic variations. See Robert
Schumann: Herald of a New Poetic Age, 253.
152
enters in octaves in the violins in F major, accompanied by ascending sixteenth-note broken
chords in the viola and half notes in the cello. The first episode (section X) begins at m. 11 with
a new theme in the violins, while the accompanying figure in the viola continues (see Example
4.2). The key of B-flat major, the subdominant, appears at m. 13, with violins in parallel octaves
and the cello partly in parallel tenths below the second violin. The parallel minor (B-flat)
appears at m. 17. At m. 20 the rondo theme returns, in F major, this time with the melody in the
cello. The second episode, section Y (mm. 26-43), is in D-flat major and has a conversational
texture. The motivic material, derived from the arpeggiated sixteenth-note broken chords of R,
passes through all four instruments until m. 32, followed by development of X material.
Fragments of the R material return, leading to a full restatement of the rondo theme in F major at
m. 44. The third and final episode, a restatement of section X, begins at m. 52. When the
section X melody returns, it is adjusted to allow a close in F. This section ends with a poco
ritardando at mm. 61-62. The final measures are a repetition of the opening: measure 63, in D
minor, presents the same ascending figure in the cello as the first measure of the movement,
followed once again by the same impassioned diminished-seventh chord. The ascending figure
returns in the first violin at m. 65. The final measures of the movement feature a sweeping
sixteenth-note line passed from the first violin to the viola over a final cadence in F major.
DIAGRAM 4.3: Robert Schumann String Quartet op. 41 no. 1, mvt. 3.
Time Thematic
Signature material
Introduction Adagio 4/4 O D 1-3
R F 4
X 11
B 13
b 17
153
DIAGRAM 4.3: Robert Schumann String Quartet op. 41 no. 1, mvt. 3.
Time Thematic
Signature material
R F 20
Y D 26
R F 44
X F 52
O D 63-65
F 66-67
154
155
Presto
The final movement, in sonata form, has a tempo marking of Presto. The P theme
appears immediately in m. 1 in A minor (see Diagram 4.4). A new, violin-oriented theme begins
in m. 10, with use of i (m. 10), V (m. 11), and N6 (m. 13), and exploits a heavily syncopated
rhythm. The decidedly ethnic sound is evocative of the nineteenth-century conventional idea of
Gypsy music. 192 The transition begins in m. 35, and the secondary key area arrives with P1 on
the dominant of the relative major (C major) in m. 43. While P and P1 are not identical, they are
remarkably similar, and thus the movements form is appropriately described as monothematic.
Both begin with two quarter notes separated by quarter rests. Those quarter notes are followed,
in both cases, by a leap to a dotted half note and a descending line of eighth notes. P1 repeats in
all four voices to m. 64, where a derivative theme appears (labeled P1A in Diagram 4.4),
functioning as K. This theme is an augmented version of the beginning of P, combined with the
descending line of P1. The development begins in m. 81 with motive P1A in imitation. P1A
appears consecutively in all parts, supported by running eighth notes as before. The eighth-note
motion ceases for almost the first time with the sudden appearance of half notes in all voices
(mm. 140 and 144). The half-note chords are the Neapolitan (now in G minor) in second
inversion. These chords are striking for two reasons: first, because of the cessation of motion,
and second, because the perfect fourth between the viola and second violin is particularly
dissonant. At m. 152 the eighth-note motion resumes, leading to the recapitulation. The
recapitulation of P, which begins in m. 214, is followed immediately by the repetition of the
syncopated, Gypsy-style tune. The theme used in the development section (P1A) returns again as
K (m. 243). At m. 254 the key changes abruptly to A major, and there is a new tempo marking
of Moderato. A drone in the first violin and cello supports the folk-like tune heard in unison in
the second violin and viola. Then this ten-measure section (m. 264) is unexpectedly followed by
what appears to be an exercise in first species counterpoint, with the cantus firmus in the viola
(see Example 4.3). A return to Tempo I indicates the material that expressed the secondary key
(P1) in m. 286. The movement concludes in A major with restatements of P1A.
192
See Jonathan Bellman, The Style Hongrois in the Music of Western Europe (Boston: Northeastern
University Press, 1993).
156
Time Thematic
Signature material
Section 1
Presto 2/2 P a 1
(expo, part 1)
vln-oriented
10
theme
T 35
Section 2
P1 V/C 43
(expo, part 2)
Supported by
C:V
64 running
eighth-notes
Section 3
P1A 81 imitation
(develop)
Cessation of
g: 140
motion
g: 144
Running
152 eighth-notes
resume
Section 4
P a 214
(recap)
vln-oriented
243
theme
folk-tune
Moderato A 254
with drone
1st-species
counterpoin 264
t
157
Tempo I P1 A 286
P1A 305
158
The most striking contradictions in the world of this work are the extra-generic
associations in the final movement. The first extrageneric material is in mm. 10-17, which
contain elements reminiscent of ethnic music, specifically Gypsy music, a musical style not
normally found in string quartets composed during this time. These measures are violin-
oriented, in a minor key (A minor), and exploit a syncopated rhythm. A second extrageneric
passage appears at m. 254, the folk-like melody in A major in unison in the second violin and
viola, supported by octave drones in the first violin and cello. Then immediately following this,
at m. 264, comes the 22-measure section in first-species counterpoint. The inclusion of species
counterpoint in a string quartet is contradictory because it brings an ancient vocal style into the
modern, instrumental world of a nineteenth-century string quartet. Further, the juxtaposition of
159
the style of a strict sixteenth-century counterpoint exercise with a folk-like melody is particularly
unexpected, and the deliberate placement of the two styles is striking.
The very first paradox that we encounter in this quartet is that the first movement begins
in A minor, but after the first 30 measures the movement continues as a sonata form in F major.
This gives the impression of having begun in the wrong key, when in fact it is the whole body
of the movement that takes place off the true tonal center. One of the paradoxes addressed here
is of form. The P theme is tonally closed, and it seems more like a song form or a binary dance
form than is usual for the P material of a sonata form. This type of tonally closed material is
usually more indicative of a rondo form than a sonata form. The seeming ambiguity serves to
confuse the formal structure. A similar misrepresentation of form occurs again in the third
movement of this quartet. It is in rondo form, but the sections are not tonally closed, making it
based more on continuing thematic material than tonally articulated structure.
Another paradox is the heavy emphasis on learned counterpoint. In the first movement
the introduction, transition, and P1A material all invoke the learned style. The glaring exception
is the P material, which is never treated contrapuntally. The lack of contrapuntal treatment of
this theme contributes to the closed-theme, rondo-like effect.
In the second movement a paradox can be found in the ambiguity of the formal structure.
Although this movement is in rondo form, it at first appears to be ternary (Scherzo, Intermezzo,
Scherzo). Another related paradox is in the insertion into a Scherzo movement of an Intermezzo,
which would more typically constitute an independent movement as opposed to a section within
a large movement.193 If the Intermezzo is not an independent piece, then one might expect it to
form the B section of a ternary form. In this case, however, it is merely the C section of a seven-
part rondo form.
String Quartet in F Major, op. 41 no. 2
The Work
Allegro vivace
The first movement, marked Allegro vivace, is in a modified sonata form (see Diagram
4.5). The movement begins with the cantabile P material heard immediately in the first violin in
F major, accompanied by sustained notes in the second violin and cello and an eighth-note
193
Mendelssohns String Quartet op. 12, for example, has a second movement labeled Intermezzo.
160
pattern in the viola. There is no complete restatement of this material after the initial statement
in mm. 1-8. The transition, beginning in m. 33, treats fragments of the P theme imitatively. At
m. 65 there is a cadential gesture that consists of a dotted half note followed by an eighth-note
descending line. This material appears on an E minor triad leading to G (m. 68). At m. 69 a
quiet motive (m) is found in the first violin that is imitated in m. 70 in the second violin,
followed by the viola in m. 73; the first violin has this motive again in m. 74. This material is in
C major, but it never manages to establish that key. C does not even appear until the third
measure (m. 71) of the motive. The secondary key area arrives with the dominant of C major at
m. 76, leading to a restatement of the cadential gesture heard first at m. 65, this time in C major.
At m. 81 the lyrical closing theme (K) is found, leading to the first ending or on to part 2. The
development begins in G minor (m. 93) with fragments of the imitative material found at m. 69.
At m. 97 fragments of the P theme are found in the first and second violins. After the music
moves to C minor, returns to G minor, and eventually halts on the dominant of A minor, there is
an abrupt appearance of a passage in homorhythm (mm. 169-73). This five-measure
homorhythmic passage is sharply defined by its use of abrupt dynamic alternations (see Example
4.4). This section is followed by a variation of the cantabile P theme in the first violin, in C
major (the dominant of F major), leading to the recapitulation of the P theme in F major at m.
177. The recapitulation follows the events of the exposition. After 32 measures (m. 209) there is
a transition-like section that again features fragments of the P theme in imitation, moving to the
dominant (C major) at m. 236. The imitative motive (m) then returns, beginning in the first
violin at m. 237. Just as in the exposition, the K theme begins four measures later (m. 249) and
leads to a seventeen-measure section in first-species texture (mm. 257-73). The movement ends
with a perfect authentic cadence in F major.
Andante, quasi Variazione
The second movement is marked Andante, quasi Variazione. The qualifying term in its
heading reflects the fact that this movement is not a traditional theme and variations, but rather a
sixteen-measure theme followed by five independent segments in different figurational patterns
(see Diagram 4.6). The theme (mm. 1-16) begins immediately, in A-flat major, in the first
violin. This predominantly conjunct theme relies on rhythm and dynamics for movement rather
than on the melody. After moves to the dominant of F minor and then to C major, A-flat major
resumes at m. 16. The first new segment begins at m. 17 in the tonic with a rhythmic pattern in
161
the three lower instruments derived from that found in the presumptive theme. The first violin
enters at m. 21 with the same rhythmic figure in a descending chromatic line. The next segment
begins at m. 33 with dotted quarter-notes in the violin supported by conjunct eighth-note lines in
the three other instruments.
Time Thematic
Signature material
Section 1 Allegro
3/4 P F 1
(expo, part 1) vivace
P treated
Transition P 33
imitatively
cadential
eG 65-68
gesture
m C? 69-74
Section 2
V/C 76
(expo, part 2)
cadential
C 77
gesture
leading to
the first
K 81
ending or on
to section 3
Section 3 motive from
g 93
(develop) m. 69
P fragments 7
Homo-
169-73 rhythmic
passage
P C 174
Section 4
P F 177
(recap)
162
Time Thematic
Signature material
P treated
Transition P 209
imitatively
C 236
motive from
237
m. 69
K 249
first-species
257-73
texture
F 276
163
At m. 49 a more traditionally figured variation begins, with rapidly moving lines in the first and
second violins supported by pizzicato arpeggiated triads in the viola and cello. The fourth
segment (m. 66), marked molto pi lento, consists of a theme that is so static that it seems almost
the opposite of a melody. It is also the shortest of the five segments (twelve measures instead of
sixteen). The non-melodic nature of the material might contribute to its need for brevity. The
fifth segment (mm. 78-89), marked Un poco pi vivace, is faster and the most melodic, with a
short-breathed, dance-like rhythm. This section is also somewhat shorter than the previous ones.
Time Thematic
Signature material
Andante,
Theme quasi Vari- 12/8 Theme A 1-16
azione
1 17
2 33
49
molto pi
66
lento
un poco pi
4/4 78
vivace
a tempo 12/8 Theme 90
poco pi
Coda 107-12
lento
164
An a tempo marks the return of the theme, at the beginning at m. 90. The reappearance
of the opening material is a close repetition of the initial statement (mm. 1-16). A coda follows
immediately, marked poco pi lento, at m. 107. The coda is reminiscent of material found in the
third segment. The movement comes to a quiet close at m. 112.
Scherzo: Presto
The third movement, a scherzo and trio, is in C minor (see Diagram 4.7). The spritely
theme begins immediately in the first violin in the tonic (m. 1). This dance-like theme has a
predominately homorhythmic accompaniment in the three lower instruments.
Time Thematic
Signature material
Scherzo Presto 6/8 c 1
Listesso mm. 89-105

Trio 2/4 a C 89
tempo repeat
b 107
mm. 107-
a C 114
122 repeat
Scherzo 6/8 c 123 da capo
Integrates
elements of
Coda 2/4 a C/c 170
both Scherzo
and Trio
The trio portion of this movement is reminiscent of Mendelssohns elfin-scherzo style.

Marked Listesso tempo, it begins at m. 89 in C major, with the theme heard in the cello at m. 90.
The accompaniment in the three upper instruments includes eighth notes punctuated with eighth
rests, alternating with scalar passages. The scherzo then returns, da capo, at m. 123. The coda
165
(m. 170) integrates elements of both scherzo and trio, similar in this way to the third movement
of Mendelssohns string quartet op. 13 (see Example 4.5). Elements from the trio, specifically
the theme in the cello, appear at m. 171, while the scherzo theme is found at m. 177. The
scherzo theme moves to the second violin at m. 185. The accompaniment throughout has aspects
from both the scherzo and trio, its parts shifting from instrument to instrument very rapidly.
166
EXAMPLE 4.5a: Robert Schumann, String Quartet op. 41 no. 2, mvt. 3, mm. 170-94.
167
EXAMPLE 4.5b: Felix Mendelssohn Bartholdy, String Quartet op. 13, mvt. 3, mm. 138-63.
168
Allegro molto vivace
The final movement of this quartet is marked Allegro molto vivace and is a sonata form in
F major (see Diagram 4.8). The movement opens with a two-measure introduction that consists
of rapid sixteenth notes in the first violin supported by the three lower voices. The lively P
theme begins in m. 3 as a continuation of the introductory material. At m. 11 the P material
repeats, leading to a half cadence at m. 18. The transition begins in m. 18 with a sweeping
ascending sixteenth-note line beginning in the cello and moving up through each instrument to
the first violin, reaching a2 and descending again to c1 (m. 23). This is then repeated as a
sequence in mm. 23-28. At m. 28 there is a new rhythmic pattern that consists of syncopated
eighth notes. Until now there has been a rapidly moving part throughout the movement;
however, the material in m. 28 has the effect of slowing the pace of the movement. The
rhythmic pattern appears in the first violin in C major, is repeated in each instrument descending
to the cello (m. 31), and leads to the secondary area, in C major, at m. 36. The S material,
marked dolce, appears in the first violin and is repeated in the viola one measure later. The
secondary key area occupies just five measures, so that the finales form resembles that of the
first movement. The closing material begins at m. 42, with K material that bears a vague
similarity to the K material found in the first movement. Both themes involve octave leaps and
have a similar rhythmic pattern.
Time Thematic
Signature material
Allegro molto
Introduction 2/4 O F 1
vivace
Section 1
(expo, part P 3
1)
T 18
syncopated
V/C 28
rhythm
169
Time Thematic
Signature material
Section 2
(expo, part S C 36
2)
leading to 1st
K 42 ending or on
to section 3
Section 3
S A 48
(develop)
S D 56
animato N N/F 123
N 134
Section 4
a tempo P F 150
(recap)
T 166
S V 179
repeated
K 186
from m. 48
Coda pi mosso N 192
After a repetition of the first part of the movement part 2 begins at m. 48 with the S
material in A-flat major leading to D-flat major. Reappearances of the S material are
interspersed with an ascending line that begins in the cello and is passed through all the
instruments sequentially to the first violin. This continues to m. 123 where new material (N)
170
appears in the cello starting on the Neapolitan of F major. Compared to the first part of the
movement the texture of the second part is far more static. With the appearance of the N
material, however, that changes. This theme, marked animato, consists of running sixteenth
notes, with a homorhythmic accompaniment in the three upper instruments. At m. 134 the N
material is picked up by the other instruments, leading to the recapitulation at m. 150 with the P
material in the tonic key. The recapitulation follows the events of the exposition. After a
repetition of part 2 there is a coda, marked Pi mosso. The coda is based on the N material,
which is heard in the cello, just as originally presented. Paired voices, with the N material
accompanied by eighth notes, occurs throughout the coda.
One contradiction in the world of this work is the appearance of first species counterpoint
in the first movement. Just as in op. 41 no. 1 the inclusion of an ancient vocal style in a
nineteenth-century string quartet brings an older genre into a newer one and creates a
contradiction.
Another contradiction is the marking quasi Variazione found at the beginning of the
second movement. A movement based on variations is not unusual in string quartets from this
time, but the structural concept designated quasi Variazione here is sui generis. Besides
merely being unusual, this movement begins as a theme with variations and then becomes
something else entirely, a through-composed form.
A paradox in the first movement is the brevity of S material in a sonata form. The
secondary theme and entire dominant key area in the first movement of this string quartet are
barely established before the closing material appears. This occurs again in the final movement,
where the secondary key area is all of five measures long. The short shrift given to the
secondary key area in both instances is quite unusual. This emphasis, combined with the
opening of the movement as a theme and variations which then becomes through composed,
indicates a paradox concerning the formal structure of the movement.
171
String Quartet in A Major, op. 41 no. 3
The Work
Andante expressivo
The first movement is in sonata form (see Diagram 4.9) and begins with a languorous
seven-measure opening section marked Andante expressivo. The harmony is not clearly defined
but might be seen as a prolongation of the subdominate in A major. The principal motivic
gesture (Pa), a two-note figure in a falling fifth, appears in m. 1 and again in the final measure of
the section (m. 7). The main body of the movement begins in m. 8, marked Allegro molto
moderato. Pb, incorporated into the theme with Pa at m.11, is a two-measure segment of
ascending and then descending eighth notes. The sedate P theme, now with both a and b
sections, appears in A major, cadencing clearly in m. 15. The transition (mm. 16-44) through
imitation of new triadic material (T), arrives at the secondary key area in m. 45. The song-like S
melody is in the cello, doubled by the first violin, in E major. At this point the cello is the
highest voice in the texture. S is then repeated four times in a parallel period (mm. 46-54)
answered in mm. 54 -62, and in mm. 62-70, again answered (mm. 70-78). At m. 90 the opening
material reappears again (in A major), continuing to the repetition sign. The development starts
by exactly repeating the beginning of the exposition, leading the listener to think it is a third
repetition of the exposition. Only the first five measures of the development, however, remain
the same as the exposition. The 52-measure development section continues to m. 154, where S
is recapitulated in A. There is no recapitulation of Pa or Pb. The recapitulation follows the
events of the exposition from S, with O (m. 196). Pb does not appear again after m. 148 (in the
development section). Pa has only a few appearances after m. 145, and those are in the final
measures of the movement, where the first violin has the falling-fifth figure (mm. 208-14)
followed by the cello in the last measure of the movement.
172
Time Thematic
Signature material
unclear
Andante Prolon-
Introduction 4/4 O 1-7
espressivo gation of
IV/A
Section 1 Allegro
(expo, part molto 3/4 Pa A 8
1) moderato
Pa + Pb A 11
T 16-44
Section 2
(expo, part S E 45
2)
S 46-54
S 54-62
S 62-70
S 70-78
4/4 87-89
3/4 O A 90
100 1st ending
exact
Section 3
Pa + Pb A 101 repetition of
(develop)
exposition
pi Adagio Pb V/A 149
173
Time Thematic
Signature material
Section 4
a Tempo S A 154
(recap)
4/4 194-96
3/4 O 196
Pa 208-14
Assai agitato
The second movement, marked Assai agitato, is a scherzo in style but a theme and
variations in form (see Diagram 4.10). The theme and each of the four variations is a closed
rounded binary form consisting of a first part of sixteen measures, which are repeated and
followed by a second part of thirty-two measures, also repeated. The movement begins in F-
sharp minor, but the second part of each statement starts in D and the whole ends on F-sharp
major. A playful theme begins immediately in m. 1 in the first violin over a homorhythmic
accompaniment in the three other instruments. Variation 1 (mm. 49-95) has an agitated
character, emphasized by the accents on repeated notes and the running eighth notes in the viola
and cello. While the first and second violins also have eighth notes, they are punctuated by one-
and-a-half-measure rests interspersed throughout the section. The rapid change in forces adds to
the agitated character. The second variation (mm. 97-144) consists of imitation based on a rising
fifth, heard first in the cello. Each instrument enters sequentially in two-measure units moving
from lowest to highest voice. At m. 134 part 1 returns in the first violin. The constant motion
found in the movement to this point is brought into sharp relief by a fermata over a half-measure
of rest in the second ending (m. 144).
174
Time Thematic
Signature material
Assai rounded
Theme 3/8 a f# 1-16
agitato binary
b D 17
to 1st ending
a F# 34
(m. 48)
1 to 1st ending
Variation 1 aV f# 49
(m.64)
bV1 D 65
to 1st ending
aV1 F# 73
(m. 96)
Listesso
Variation 2 2/4 aV2 f# 97
tempo
bV2 D 113
to 1st ending
aV2 F# 134
(m. 144)
un poco
Adagio
bV3 D 161
aV3 F#
Tempo to 1st ending

risoluto (m. 202)
bV4 D 202
aV4 F# 209
175
Time Thematic
Signature material
Coda F# 225
E 233
F# 237
E 241
F# 245
F# 255
The third variation (mm. 145-88) is marked Un poco Adagio and contains the first
cantabile style heard in the movement. The melody, presented in the first violin, is reminiscent
of Mendelssohns string quartet op. 44 no. 1, third movement (see Examples 4.6a and 4.6b). The
melody is heard in canon in the viola, which enters two measures later (m. 147), while the
second violin and cello provide a sustained accompaniment. Part 2 (m. 161) begins with the
second half of the theme, this time, as in its first appearance, heard first in the viola but now
imitated two measures later in the first violin (m. 163). This variation also ends with a half
measure of rest. In effect the third variation is framed by silence. The fourth variation (mm. 194-
224) is labeled Tempo risoluto. This variation contrasts sharply with the preceding section in
two specific ways: first, with a return to the shorter, choppier thematic units heard earlier; and
second, through the intensity expressed by dense scoring, disjunct lines, and accented notes. The
final variation is followed by a coda (mm. 224-55), which begins in F-sharp major with sustained
notes in the first violin and cello, while the inner instruments have continuous eighth notes in a
chromatic line (see Example 4.7). At m. 229 the key slips away to E-flat major. There is no
176
change of texture. F-sharp major returns at m. 237, followed by a further shift to E-flat major at
m. 241. F-sharp major returns at m. 241, and the movement remains in that key to the end. The
move between the two keys is accomplished through a linear shift in the inner voices. F-sharp
moves to G, A natural becomes B-flat, and C-sharp steps to E-flat, creating a seamless shift from
one harmony to the other. The overall effect is reminiscent of pre-tonal music.
EXAMPLE 4.6a: Robert Schumann, String Quartet op. 41 no. 3, mvt. 2, mm. 145-60.
177
EXAMPLE 4.6b: Felix Mendelssohn Bartholdy, String Quartet op. 44 no. 1, mvt. 3, mm. 1-12.
178
179
180
Adagio molto
The third movement, Adagio molto, is in the key of D major (see Diagram 4.11). The P
material of this compact sonata form begins immediately with a cantabile theme in the first
violin (m. 1). A homophonic texture predominates, with accompaniment in the three lower
voices. Transition through sequence begins at m. 9 with a chromatic theme heard in the first and
second violins. The S material (m. 20), which appears in the first violin, is choppy and disjunct.
It is imitated in the viola (m. 20) and cello (m. 23), while the second violin maintains a pulsating
rhythmic ostinato. The key at m. 20 is B-flat major ( VI of D). The appearance of an A-flat in
the first violin at m. 20, however, has the effect of immediately destabilizing the harmony. This
section is barely established harmonically and is very brief. The development section begins
seven measures later.
Time Thematic
Signature material
Section 1
Adagio
(expo, part 4/4 P D 1
molto
1)
T 9
Section 2 m. 19 Rit.
(expo, part S B 20 followed by
2) a tempo
Section 3 1-measure
P A 27
(deveop) interjection
S1 E 29
1-measure
P B 31
interjection
S1 F# 32
P G 45-58
181
Time Thematic
Signature material
S E 59
1-measure
P F 66
interjection
1-measure
P A 70
interjection
Section 4
P D 78
(recap)
S1 94
The development section begins at m. 27 with the return of the P material as a one-
measure interjection in the key of A minor. S1 material is heard in the first violin in E major at
m. 29. At m. 29 the P material returns, again as a one-measure interjection, this time a step
higher. Once again the interjection is immediately followed by a resumption of the S1 material,
this time in F-sharp major at m. 32. The P material makes another, longer appearance at mm. 45-
58, in G major. At m. 59 the S material returns in E-flat major (the Neapolitan of D), followed
by another series of one-measure interjections of the P material. The first of these takes place at
m. 66 in G minor, followed by another at m. 70 in A minor. Just as happened earlier, the P
material at m. 70 is a step higher than found at m. 66. The recapitulation occurs at m. 78, with a
return of the P material in D major. At m. 94 the S1 material is heard once again, with the
insistent rhythmic ostinato in the viola and imitation in the other three instruments. The
movement ends quietly at m.105.
Finale: Allegro molto vivace
The final movement of this work is in ritornello form (see Diagram 4.12). In a typical
ritornello form the theme, which always returns in the tonic, alternates with sections that contrast
both melodically and harmonically. In this ritornello form, however, it is the contrasting sections
182
that have the greatest stability. The initial statement of the R section (mm. 1-14) begins in A
major on a ii6, just as the P material does in the first movement. The theme moves to F-sharp
minor before concluding in D major. This refrain comprises seven two-measure segments. The
first contrasting section, X (mm. 15-34), is a rounded binary unit that begins in D major and ends
with a perfect authentic cadence in the key of E major. The second occurrence of the refrain
(mm. 35-48) is not in the tonic. Just as in its previous appearance, however, it moves through
two keys (E major and A major) before the second contrasting section, Y (mm. 49-64) begins in
F-sharp minor. This is the first section to begin and end in the same key. The following R
section (mm. 65-72) moves via F-sharp minor to A major. The third contrasting section, Z
(mm.73-114) is marked Quasi trio and is twice as long as any of the preceding sections; it is
the most stable part of this movement so far. This section has the character of a dance, possibly
a gavotte. It is a closed rounded binary unit in F major and is followed by the refrain (mm. 115-
28), also in F major. The fourth contrasting section, a repetition of X (mm. 124-47), begins in C
major but cadences in G major. The fifth appearance of the refrain (mm. 149-66) moves through
G major to C minor and is followed by a restatement of section Y (mm. 167-77), this time in A
minor. Then section R returns (mm. 179-87), leading from A minor to E major. Section Z (mm.
188-227), the Quasi trio passage, returns in E major, and again it is longer than other sections;
in this repetition the harmony moves back to A major (m. 220). It is followed by an R section
(m. 228-238) and coda (m. 239-95) that remain in A major to the end of the movement.
Time Thematic
Signature material
Ritnorello
2/2 R A, f#,D 1-14
theme
X D, E 15-34 rounded binary
R E, A 35-48
Y f# 49-64
183
Time Thematic
Signature material
R f#, A 65-72
closed rounded
Z F 73-114 binary, marked
Quasi trio
R F 115-128
X C, G 129-147
R G, c 149-166
Y a 167-177
R a, E 179-187
Z E, A 188-227
R A 228-238
Coda A 239-295

In two instances other genres are brought into the world of this string quartet, creating a
contradiction. In the coda of the second movement there are several measures that shift between
F-sharp major and E-flat minor, creating a non-functional harmonic effect. This creates a
contradiction by bringing a distant and old-fashioned style into the world of the string quartet.
The other instance occurs in the final movement, which is a scherzo in style but a theme and
variations in form. A section marked Quasi trio is designed to sound as if it were taken out of a
184
dance movement (i.e., a minuet and trio or a scherzo and trio). This dance-like section would not
normally be expected in a finale, or in a rondo form.
One paradox that can be found in three of the four movements of this quartet is the
deliberate obfuscation of the formal structure. The first movement opens with a ii6 chord. This
opening, rather than one emphasizing the tonic or dominant, creates immediate confusion
concerning the key, because that harmony serves to obscure, rather than clarify, the key. The
obfuscation occurs again with the opening of the final movement, in which the same chord is
used.
Another example that highlights the ambiguity of the formal structure can be found in the
first movement, where the material labeled O appears not only in the introduction, but also as a
sort of articulation point at the ends of sections. O is heard at the very end of the exposition (mm.
87 or 89-100) and again at the end of the recapitulation (mm. 194 or 196-207). The development
section (m. 101) of this movement also begins in an ambiguous fashion. It opens with the P
theme at the same pitch level found at the beginning of the movement, thus initially sounding
like a third statement of the exposition rather than an entirely new section. The final example of
formal ambiguity in the first movement involves the recapitulation, which uses S material (m.
153) bypassing the more usual P theme.
A similar paradox in the third movement can be found in the exposition, where the
secondary key area is just 10 measures long. The brevity of this material again emphasizes the
ambiguous nature of the formal structure.
Both convention and initial beginning lead the listener to identify the finale as a rondo.
The paradox is, as Anthony Newcomb has explained, that the traditional role of the refrain has
been turned around; in this movement the refrains are not the center and locus of stability. They
are instead the intermediaries, the transitions between the episodes, which reveal themselves
increasingly clearly as the islands of stability between the recurrences of a forward-pushing,
unstable, transitional refrain.194 The paradox in this movement is that it strips bare the
conventions of the rondo scheme in order to turn them upside down.195
194
Anthony Newcomb, Schumann and Late 18th-Century Narrative Strategies, 19th-Century Music 11/2
(Fall 1987), 173.
195
Ibid., 174.
185
Persona: op. 41
During the early decades of the nineteenth century the idea of a Viennese Classic
tradition (consisting primarily of the music of Haydn, Mozart, and Beethoven) was promoted in
response to a nostalgia for a past, even if that past were nothing but an imagined construction,
in relation to which the early Romantic present might be situated.196 This imagined past was
part of a broader project to invent a Viennese Classical style, in order to validate the notion of
an early Romantic school whose modernist aesthetic was to be seen in opposition to a perceived
classical stability, but which was nevertheless grounded in the concept of a continuing
tradition.197
The persona of all three string quartets of op. 41 can most helpfully be identified as a
music critic operating within the framework of this imagined past and perception of the present
(and anticipated future). The persona not only has a strong interest in music history but is also
concerned with the future of music. These two interests are reflected in the op. 41 quartets. The
personas knowledge of the history of music is apparent in the many styles and types of music
demonstrated. A historical perspective is also evident in the several instances of archaic
musical references found in op. 41. Examples of this are the passages of first-species
counterpoint found at the end of the first movements of op. 41 nos. 1 and 2. Species
counterpoint, a pedagogical classification that can be traced to 1533, was most familiar from a
particularly well-known source: J. J. Fuxs Gradus ad Parnassum of 1725.198 Another example
of an archaic musical idea is heard in the second movement of op. 41 no. 3; in this instance a
constant shift between the keys of F-sharp major and E-flat major produces a non-functional
harmonic effect reminiscent of early music. These references to earlier styles of music
demonstrate the personas sense of music history.
This interest in musical styles serves to identify a persona who uses historical knowledge
to reinterpret tradition creatively. This can be seen in the decision often to ignore conventions
associated with the string quartet, specifically those concerning form. Each of the movements
196
John Irving, The Invention of Tradition, in The Cambridge Guide to Nineteenth-Century Music, edited
by Jim Samson (Cambridge: Cambridge University Press, 2002), 178.
197
Ibid., 181.
198
Willi Apel, Harvard Dictionary of Music (Cambridge, Mass.: Belknap Press of Harvard University
Press, 1944), 804.
186
that comprise the quartets of op. 41 contains ambiguous formal elements. The first movement of
op. 41 no. 1, for example, begins after O with a tonally closed P theme indicative of a rondo
rather than a sonata form. This ambiguity initially leads the listener to expect a rondo form, but
in fact the actual form turns out to be a sonata. A further ambiguity here is the introduction,
which leads to the body of the movement, in the wrong key of F major. Another example can
be found in the second movement of op. 41 no. 1, a seven-part rondo with a middle episode so
apparently independent that it seems to turn the movement into a ternary form. Even movements
clearly in a particular form include elements that lead to confusion, such as op. 41 no. 2
movement 2, labeled quasi Variazione, which is, however, not actually a theme and variations,
but rather a series of figurational patterns not based on a single theme.
The personas concern with the future of music may be expressed through the exploration
of register and timbre in the quartets of op. 41. Irving writes, Elements such as texture and
register, formerly peripheral to musical discourse, become centered in the works of Schubert,
Mendelssohn, and Schumann.199 And according to Krummacher,
The interrelationships among the parts are no longer obbligato-like in
character; rather, they seem to present timbral regions that may be
described either as sections of conventional working-out or as episodic
enclaves. In this sense, Schumanns quartets offer new procedures in
timbral disposition that would become historically decisive for the genre
after Grieg and Smetana.200
An example of Schumanns experimentation with register and texture occurs in op. 41 no. 1, in
the fourth movement at mm. 139-50, where there is an abrupt switch from a conversational
texture to one of homorhythm. A mere change of texture is not so unusual; this change,
however, is aimed toward a sonorous effect that is not simply about melody and harmony but
directs attention to the texture itself. At mm. 233-40 there is more homorhythm, and again at
mm. 263-84. Yet another example involving texture takes place in the first movement of op. 41
no. 2, mm. 172-76, which again is homorhythmic. These instances will be discussed further in
the Transcendence section.
199
Irving, 189.
200
Friedhelm Krummacher, Epigones of an Epigone? Concerning Mendelssohns String Quartets and
the Consequences, in The Mendelssohns: Their Music in History, edited by John Michael Cooper and Julie D.
Prandi (Oxford: Oxford University Press, 2002), 311.
187
The opening theme of the second movement, mm. 1-16, relies primarily on rhythm and
dynamics for motion, rather than on melody, with a particularly static texture. And in the same
movement, mm. 65-76, the drone-like melody is almost anti-melodic. The drone-like part
remains predominantly in the cello, while the upper three instruments are mostly homorhythmic.
The consistent emphasis on homorhythm in a string quartet is in itself unusual. One basic
assumption about string quartets composed during this time (mentioned in Chapter 3) is that the
texture is predominantly conversational, that is, that motivic material is taken up by each
instrument in such a way that no one instrument would be more important than another. While
homorhythm itself does not automatically produce a texture with unequal voices, its insistence
on lock-step uniform motion does not allow for the interplay of voices crucial to the
contemporary expectations of quartet texture. Although homorhythm does not preclude a
polyphonic texture, it does make conversational style impossible. The emphasis on
homorhythm in a genre in which conversational texture is normative brings textural issues to the
forefront, especially the play of harmonic color without melody.
Transcendence: op. 41
In the previous discussions of transcendence in this study care has been taken to treat the
composer and the musics persona as separate entities. In this instance, however, it is best to
acknowledge the obvious connection between the two. Robert Schumann himself was both a
composer and critic, and he was quite self-conscious about his dual roles. There is of course a
parallel between Schumann as composer and music critic and the composer and music critic
persona of op. 41. In this unusual circumstance conflating the composer and persona offers
intriguing possibilities.
Schumann wrote, in his editorial for the 2 January 1835 issue of the Neue Zeitschrift fr
Musik,
In the short period of our activity, we have acquired a good deal of
experience. Our fundamental attitude was established at the outset. It is
simple, and runs as follows: to acknowledge the past and its creations, and
to draw attention to the fact that new artistic beauties can only be
strengthened by such a pure source; next, to oppose the recent past as an
inartistic period, which has only a notable increase in mechanical dexterity
to show for itself; and finally, to prepare for and facilitate the advent of a
fresh, poetic future.201
201
Daverio, 119.
188
Two aspects of the composers (and personas) viewpoint here are particularly important. The
first is the recognition of the past and its creations, and the second is to prepare for and
facilitate the advent of a fresh, poetic future. The music critic persona of the op. 41 quartets
reflects both of these statements through, in the first instance, knowledge of historical styles, and
in the second, use of register and texture to explore possibilities for the future of music.
The music critic personas concern with both the past and the future is reflected in the
consistent use of homorhythm throughout the quartets of op. 41. Homorhythm serves a dual
purpose by recalling the past through species counterpoint, while at the same time directing the
listeners attention to texture and timbre of the work, giving these new emphasis in the genre.
There are instances where Schumanns experimentation with timbre and register provide an
opportunity for the same material to function in two different ways. The examples of first-
species counterpoint found in the fourth movement of op. 41 no. 1 (mm. 234-40 and 263-84) and
in the first movement of op. 41 no. 2 (mm. 172-76) are particularly striking because they both
recall the past through the use of an ancient style, while at the same time focusing attention on
the texture and timbre.
Both the composer and persona have an interest in establishing a firm place in the
historical tradition, while at the same time pulling away from some of the conventions central to
that tradition. Self-consciousness is thus inherent in the personas placement in music history
and in the continuing tradition of composers. That self-consciousness is intensified by
Schumanns role as both composer and music critic. The self-consciousness arising from this
dichotomy manifests Romantic irony.
189
CHAPTER 5
SUMMARY AND CONCLUSION
This dissertation has sought to demonstrate how the concept of Romantic irony may be
applied as a critical approach to the instrumental music of the nineteenth century, specifically to
the string quartets of Mendelssohn and Schumann. Romantic irony, a concept identified by
Schlegel, was particularly influential on both authors and composers. Romantic irony is
relatively easier to identify in literary works and in texted or program music, however; absolute
music has no extramusical associations that can help to make Romantic irony evident. The
identification of Romantic irony in string quartets, the epitome of absolute music, would indicate
the concept must have been very powerful indeed.
A comparison of these nine quartets based on some of the observations discussed in the
preceding chapters will be instructive. Although all these quartets came from a temporally and
geographically similar world, the perceivable world of the work is different for each quartet or
group of quartets studied, so our first comparison will focus on the social and cultural elements
that differ from quartet to quartet. A second comparison involves issues specific to Mendelssohn
and Schumann; for example, each composer had a different way of approaching formal structure,
and to highlight these we will draw on the analysis of each of these works and paradoxes specific
to the work for each quartet. The different approaches to persona will also be examined. The
final part of this chapter will explore Mendelssohns and Schumanns conceptions of persona
and Romantic irony through a comparison of their approaches to transcendence. Contradictions
in the world of the work will not be included in this discussion. They are quite specific to each
quartet and no useful information would be gleaned from a large-scale comparison.
The following comparisons will first focus on Mendelssohns opp. 13 and 12, then
Mendelssohns op. 44 and Schumanns op. 41, and finally on Mendelssohns op. 80. This not
only follows the chronology of the quartets, but allows a closer look at the relationship between
Mendelssohns op. 44 and Schumanns op. 41. These quartets were composed within five years
of each other, both were published in sets of three, and Schumann dedicated op. 41 to
Mendelssohn. Looking at them in this grouping brings interesting insights to light.
190
Mendelssohns opp. 13 and 12 share many elements of their respective perceivable
worlds. At the time Mendelssohns early quartets were composed (1827 and 1829 respectively),
string quartets were commonly intended for performance at social occasions, such as convivial
entertainment in the home. Both of Mendelssohns early quartets were most likely intended for
performance at such an occasion. Op. 13 was probably first performed at one of the private
musical salons held in the Mendelssohn home on Sunday afternoons. The audience would have
been a convivial one, composed of family, friends, and visiting musicians. While op. 12 was
probably intended for a similar audience, the original performers were most likely professional
musicians. In both instances the performance venue was a home, with a small, invited audience.
The Mendelssohn mansion was, of course, a rather unusual sort of domestic setting, but
descriptions indicate that even more modest musical homes could emulate it.
By the time Mendelssohns three quartets op. 44 and Schumanns three quartets op. 41
were composed (between 1838 and 1842), however, there had been a change in the nature of
performance opportunities for the string quartet. These six quartets were all conceived of as
works to be performed by professional musicians in a concert hall for a public audience.
Mendelssohns op. 44 was performed in the Gewandhaus, and Schumanns op. 41 was also
performed by professional musicians.
The perceivable world of Mendelssohns op. 80, composed in 1847, is different from that
of any of the previous quartets mentioned. This quartet was written as a response to his sisters
death. Mendelssohn strongly believed that work in the face of overwhelming grief was a moral
imperative, and this quartet was part of his response. Although Mendelssohn intended op. 80 for
publication, the intensity of the emotions expressed makes this quartet appear to be a more
personal statement. The historical/biographical context supports this, and so did its reception
history.
The Work
Mendelssohn and Schumann both strictly adhered to the external conventions of the
formal structure of the string quartet. All nine of the quartets employ the external conventions of
the nineteenth-century string quartet, including scoring, normative forms, and characteristic
textures. Each of these nine quartets consists of four movements, beginning and often ending
with a fast-paced sonata form or a ritornello form. The inner movements usually include a slow
191
movement and a faster, dance-derived movement. Each quartet, in addition, incorporates the
conversational texture characteristic of the genre. Within these confines, however, both
composers addressed the issue of formal structure creatively.
Mendelssohns early quartets, opp. 13 and 12, adhere very closely to the traditional
conventions of the string quartet. Both quartets open with slow introductions followed by faster
sonata-form movements. The inner movements also conform to traditional expectations. The
second movement of op. 13 is a fugue with the tempo marking Adagio non lento, and that of op.
12 is a Canzonetta in composite ternary form, marked Allegretto. The third movement of op. 13
is a moderately fast Intermezzo in composite ternary form with an unusual juxtaposition in the
final section consisting of material from the second section. The third movement of op. 12 is a
simple two-part form with a slow tempo. Both quartets conclude with fast-paced sonata-form
movement.
The three quartets of Mendelssohns op. 44, composed between eight and nine years after
op. 12, also adhere to the conventions of the genre. All three quartets of op. 44 begin with fast-
paced movements in sonata form and conclude with lively sonata or sonata-rondo movements.
All three of the second movements of op. 44 have moderate to fast tempo markings. The second
movement of op. 44 no. 2 is a sonata rondo in the manner of a scherzo, that of no. 3 is a scherzo
in composite ternary form, while that of no. 1 is a menuetto, also in composite ternary form. The
third movements all have slower tempo indications. Op. 44 no. 2 has an aria-like Andante in a
variant of sonata form, no. 3 has a sonata form and is marked Adagio non troppo, and no. 1
movement 3 has a five-part rondo with the marking Andante expressivo. Op. 44 no. 2 is the most
formally unusual, in that all four movements employ either sonata form or a variant of sonata
form.
Schumanns op. 41, while following conventional formal structures, took the most liberty
with the forms of the individual movements. Each quartet of op. 41 begins with a fast sonata or
modified sonata-form movement and ends with a sonata form (nos. 1 and 2) or rondo or
ritornello (no. 3) movement. It is in the inner movements that Schumann departs from
convention. The second movement of op. 41 no.1 is in the style of a Mendelssohnian scherzo
with a tempo marking of Presto. It is, however, a seven-part rondo rather than a traditional
ternary form comprised of scherzo, trio, and scherzo. The third movement is also a seven-part
rondo, this time an Adagio in the style of an arioso. The inner movements of op. 41 no. 2 are
192
more traditional. The second movement, labeled Andante, quasi Variazione, consists of a
sixteen-measure theme followed by five sections featuring different figurational patterns. The
third movement is a sprightly scherzo and trio with a coda that integrates the two themes in a
manner reminiscent of Mendelssohns op. 13. The second movement of op. 41 no. 3 is an actual
theme and variations rather than a quasi Variazione. It is in the style of a scherzo and has the
appropriate tempo marking of Assai agitato. This movement is followed by one in sonata form,
an unusual choice, but one that Mendelssohn also used in op. 44 no. 2. Interestingly, both
Mendelssohn and Schumann chose as the final movement of their respective sets of quartets
(opp. 44 and 41) a ritornello form.
With the String Quartet op. 80 Mendelssohn again very strictly followed the formal
structural conventions of the genre, which as we have seen, suggests classicist objectivity rather
than Romantic depth of feeling. The first movement is a fast-paced sonata form, the second is a
Scherzo in composite ternary form, the third is a slow rondo, and the quartet concludes with a
sonata form marked Allegro molto. Given the emotional and expressive content of this string
quartet and the works relation to the composers explicit artistic intention, however,
Mendelssohns strict adherence to convention may be considered perfectly understandable.
Within the conventions of the string quartet paradoxes specific to each work allow
Mendelssohn and Schumann room for explorations of irony. The primary paradox in
Mendelssohns op. 13 is the allusion to vocality found in the textual and citational inclusions
within a work in this most instrumental of genres. Other paradoxes are the inclusion of an
Intermezzo as an inner movement, as opposed to a danced-based form, the juxtaposition of
themes in a developmental style in the third movement, and the wrong key introduction in the
final movement. The main paradox of op. 12 is the complete absence of harmonic development
anywhere in the work, but especially in the first and last sonata-form movements. In each case
new, lyrical material is introduced where developmental treatment would normally be expected.
An additional paradox is the opening of the first movement in A-flat major, proceeding to G
minor before arriving at the tonic, E-flat major. Another important paradox here is the
appearance of cyclical recurrences of op. 12, which is the only one of Mendelssohns quartets
that exhibits that trait. Cyclicity is certainly unusual in a quartet, since as a genre it is more
likely to maintain its integrity than other genres such as that of a song or symphony.
193
The main paradox in all three of Mendelssohns quartets op. 44 is the harmonic
misdirection that occurs in each of the quartets. The first example can be found in the third
movement of op. 44 no. 1. From mm. 82 to 89 there is transitional-sounding material that does
not actually lead to a new key. The use of this material leads the listener to expect harmonic
movement, but that expectation is confounded when the key remains in the original B minor.
Other instances of harmonic misdirection occur in the first, third, and fourth movements of op.
44 no. 2. In the first movement the transition from P to S begins in the tonic (E minor) and
moves to B minor, thus setting up the dominant as the contrast key. But this is another example
of harmonic misdirection, as the contrast key is actually the relative major, G. The third
movement contains a destabilizing harmonic surprise, when, after P, S is about to be
recapitulated in the tonic. In this instance no modulation is necessary. Between mm. 53 and 56,
however, several unstable chords give the impression, but not the substance, of a modulation. In
the final movement passages of articulation in the formal structure act to misdirect the listener.
At the close of section 2 the movement proceeds as if leading to a repeat of section 1 or the
beginning of section 3. Section 2 never does come to a close, and section 3 begins before the
listener is aware of the end of section 2. The final quartet of op. 44 also contains misdirection,
specifically in the second movement. In this instance the misdirection concerns the large-scale
structure. This movement is titled Scherzo, leading to an expectation of ternary form. The
movement begins with a rounded binary form, supporting this expectation. The movement
continues, however, with a fugato, followed by a fugue, confounding the expectations of a
conventional scherzo and trio.
The paradox that all three of Schumanns quartets op. 41 share is ambiguity concerning
formal structure. Op. 41 no. 1 illustrates this immediately, with an introduction in A minor,
which soon leads to the wrong key of F major for the body of the movement. The ambiguity
continues with the introduction of a tonally closed P theme, more usual for a song form, binary
dance form, or even a rondo form, than the P theme of a sonata form. Right at the outset of the
opus, therefore, the questions about the formal structure are raised. The third movement contains
a similar paradox. Although it is in rondo form, the sections are not tonally closed, causing the
movement to sound as if it were based on continuing thematic material rather than a tonally
articulated structure. (The second movement of this quartet demonstrates ambiguity on a larger
scale; it at first appears to be ternary, although it is actually in rondo form).
194
The second quartet of op. 41 contains a paradox concerning formal structure in the first
movement, demonstrated in the brevity of the S material in the sonata form. The secondary
theme and dominant key are barely established before the closing material appears. The same
happens in the final movement, where the secondary key area is just five measures long. The
lack of emphasis on these sections, quite important in conventional sonata form, serves to
obscure the formal structure.
Op. 41 no. 3 also incorporates ambiguous formal elements. The openings of the first and
final movements are heard on harmonies that do not clarify the key but rather obscure it. The
development section of the first movement begins with the P theme at the same pitch level found
earlier in the movement, indicating a third repetition of the exposition rather than the beginning
of a new section.
Both Mendelssohns and Schumanns quartet oeuvres include movements in ternary form
that feature a juxtaposition of the themes in the coda. Both also include the unusual use of an
Intermezzo: Mendelssohn in op. 13 used this style for its third movement instead of a dance-
based one, and Schumann in op. 41 no.1 introduced an Intermezzo into the middle of the second
movement, a scherzo. Both Mendelssohn and Schumann included movements that are in the
style of a scherzo but do not employ the expected scherzo-and-trio form: Mendelssohn used a
sonata-rondo in the second movement of op. 44 no. 2, and in Schumanns op. 41 no. 1 the second
movement is a seven-part rondo.
One paradox shared by all the string quartets mentioned so far is the occurrence of
harmonic disruptions, either in the large-scale formal structure or in smaller, specific instances.
Mendelssohns op. 80 is, however, once again sui generis in its constraint. All four movements
follow the formal and harmonic conventions of the genre. The main paradox here is the
juxtaposition of passion and strictness, which is demonstrated in the music itself, through the
four musical passages examined in Chapter 3.
Persona
Mendelssohn and Schumann approach the idea of persona very differently. In
Mendelssohns op. 13 the persona is a lover alone, drawn from the composers song Frage. The
persona here focuses attention on the main contradiction, which is the allusion to a vocal work in
an instrumental one. In Mendelssohns op. 12 the persona is a musician who has absorbed
195
diverse experiences. The quartet is addressed to B.P. as a fellow musician to whom vocal style
appeals rather than intensive instrumental work.
Mendelssohns op. 44 is slightly different. Here, the persona is a perverse guide who
uses calculated misdirection within the formal structure to mislead the listener. This harmonic
misdirection consists of the delay of the arrival of the expected key, moving to a key that turns
out to be the wrong one, or wandering through a series of chromatic chords before returning to
the same key. In these quartets both the activity and the voice of the persona are evident, the
voice through allusions to vocal style, and the activity through harmonic misdirection. The
persona in these quartets draws attention to itself rather than to other paradoxes.
The music critic persona in Schumanns quartets op. 41 shows a strong interest in music
history and a concern with the future of music. The personas knowledge of music history is
apparent in the many styles and types of music demonstrated in the quartets. A historical
perspective can also be seen in the several instances of archaic musical references found in the
form of species counterpoint. The persona, therefore, has a solid basis of historical knowledge
from which to reinterpret tradition. This is done through the decision to ignore conventions of
the genre, most notably those concerning the formal structure. Each movement contains
ambiguous formal elements. The personas concern with the future of music is expressed
through the exploration of timbre and register. The extensive and consistent use of homorhythm
directs attention to the texture itself rather than to the harmony and melody.
In Mendelssohns op. 80 the persona is identified not only through the music but also
through comments made by the composers contemporaries. There is an assumption that the
persona is a mourner, specifically a grief-stricken Mendelssohn mourning the loss of his sister.
Mendelssohns fictionalized persona is the voice of the quartet. Additionally, op. 80 can be
heard as a lament for Mendelssohn himself by later listeners. This is an instance of the persona
being identified from a fictionalized autobiography rather than from the composers actual
biography.
Transcendence
In Mendelssohns early quartets the transcendence involves the issue of meaning in
music. In op. 13 it is demonstrated that feeling and meaning reside in the music itself, and that
words are a response to the musically expressed meaning. By employing fragments of the song
at the beginning and bringing it back at the end, the string quartet here expresses the emotional
196
and musical experience that culminates in the song Frage. The issue of meaning in music is
approached from another perspective in op. 12. In this quartet lyrical, vocal style controls the
thematic content and form one of the most inherently instrumental of all genres, a string quartet.
In each of these quartets Mendelssohn underscores his aesthetic principle that music is precise in
its meanings, and that words properly relate to music as responses to those musically expressed
meanings.
Mendelssohns op. 44 is concerned predominantly with the element of buffoonery that
exists in Romantic irony. An essential element of Romantic irony, transcendental buffoonery
directs attention to the simultaneous creation and undermining of the work. The creation of the
work must be established as a believable entity and than exposed as artifice. The quartets of op.
44 particularly serve to reinforce this idea. The misguiding guidance of the persona prolongs the
uncertainty of the expected events in the quartets. The presence of the persona is pushed to the
forefront of the listening experience, emphasizing the need to be alert to deception even from a
persona, and therefore directing attention to the creation and destruction of the work.
The transcendent element in Schumanns op. 41 concerns the music critic personas
preoccupation with both the past and the future of music. This concern can be seen in the
consistent use of homorhythm throughout the quartets. Homorhythm recalls the past through
species counterpoint and at the same time directs the listeners attention to the texture and timbre
of the work, providing a new emphasis for the genre. In op. 41 both the composer and persona
have an interest in establishing a place in the historical tradition, while at the same time moving
away from some of the conventions central to that tradition. The self-consciousness intensified
by Schumanns role as both composer and music critic manifests Romantic irony.
The transcendent aspect of op. 80 demonstrates Mendelssohns reaction to grief. The
expression of intense emotion within a genre that depends most heavily on conventions is a
moral decision; it prevents sinking into an abyss of despair, which Mendelssohn would have
viewed as a moral failing. Rather than sinking into despair at the death of his sister,
Mendelssohn choose to create a sharp and close and strict piece. The response is not to deny
the feeling, but to create something that expresses itself in a rigorously restrained manner. The
four musical examples cited earlier and the genre, with its conventions, allowed him to create a
work that expresses itself intensely, but in a restrained manner.
197
It is interesting to compare Mendelssohns op. 80 with his set of three quartets op. 44 in
their approach to transcendence. In both instances one aspect of the transcendental buffoonery
that is important to Romantic irony becomes so attenuated that it almost seems to disappear. In
the three quartets of op. 44 the buffoonery leads to the realization that the persona is not so easily
identifiable and may not be entirely reliable, which thus provides a transcendental experience.
The transcendental buffoonery in Mendelssohns op. 80 is less clear. Indulging in the sensual
pleasure of music might seem inappropriate as a response to the most wrenching kind of human
grief, and the very frivolousness inherent in the idea might represent a distant reflection of the
buffoonish. This, however, would be true at a conceptual level not experienced in the listening
but only in philosophical reflection. Although music is a sensual pleasure, this particular piece
sublimates the pleasure aspect of music to the rigor of thought, so that what seems to be a
general principle of the inappropriateness of pleasure as a response to grief simply does not
apply to this kind of music, where constructedness is pushed to the forefront of the hearers
experience. In this case the meaning of the term buffoonery becomes so attentuated that it
loses all its implications. What seems to be silly behavior turns out not to be so after all.
Mendelssohn and Schumann express some similar themes in the transcendent elements of
their respective quartets. Mendelssohns earlier quartets and Schumanns quartets, by raising
issues of musical meaning, compel a look at the broader scope of music and meaning. The two
composers express their concern with musical meaning in very different manners however.
Schumanns focus is on the larger picture that includes the history of music, while Mendelssohn
emphasizes his own intriguing aesthetic position regarding meaning in music, specifically the
relationship between words and music, one that might seem counterintuitive, but which the
music itself demonstrates as effectively as philosophical argument can do.
The relationship between Romantic irony and the string quartets of Mendelssohn and
Schumann has been explored here, even if not by any means exhausted, and perhaps the way has
been opened for further explorations of Romantic irony in other works of absolute music.
Certainly more wide-ranging examinations of Romantic irony in music would be interesting and
fruitful.
198
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204
BIOGRAPHICAL SKETCH
EDUCATION:
2008 Ph.D. Candidate in Historical Musicology, Florida State University

1994 M.M. in Musicology, University of Maryland, College Park
Thesis title: Alexander Agricola and the Transmission of Music during the
Renaissance
1988 B.A. (Departmental honors) in Anthropology,
The American University, Washington, D.C.
TEACHING EXPERIENCE:
2001-02 Graduate Assistant, Florida State University

Taught Music History I and II
2001 Summer Band Camp, Florida State University
Taught Music Theory
1994-96 Graduate Assistant, Florida State University
Taught Survey of Music Literature
1992-93 Substitute harp teacher, D.C. Youth Orchestra, Washington, D.C.
PUBLICATIONS:
2004 Self-Identification in the Romantic Tradition: Ernst von Dohnnyis

Winterreigen: 10 Bagatelles, op. 13, Perspectives on Ernst von Dohnnyi, edited
by James A. Grymes (New York: Scarecrow, 2004), 113-123.
2002 Review of Peter Mercer-Taylors The Life of Mendelssohn, Journal of
Musicological Research 21 (July-September 2002): 271-274.
CONFERENCE PRESENTATIONS:
2005 Shaken as he is to the hearts core: The Death of Fanny Hensel and
Felix Mendelssohn Bartholdys String Quartet op. 80
International Fanny Hensel Conference, Tallahassee, Florida
2002 Crossing Genre Boundaries: Instrumental Music and Song in Felix
Mendelssohn Bartholdys String Quartet, op. 13
International Conference on Romanticism, Tallahassee, Florida
205
Self-Identification in the Romantic Tradition:
Ernst von Dohnnyis Winterreigen: 10 Bagatelles, op. 13
International Ernst von Dohnnyi Festival, Tallahassee, Florida
2001 Musical Meaning in Felix Mendelssohn Bartholdys
String Quartet op. 13
AMS Regional Meeting, Baton Rouge, Louisiana
1997 Neoplatonic Thought in the Carmina Burana
AMS Regional Meeting, Tuscaloosa, Alabama
1996 Cultural Context and Musical Meaning in Felix
Mendelssohn Bartholdys Etude in F major, op. 104B/no.2
AMS Regional Meeting, Tampa, Florida
SERVICE:
2001-03 Student Representative to the AMS Committee on Career-Related Issues

2002 Co-chaired the AMS Committee on Career-Related Issues Student
Session: Getting Your Foot in the Door: Internships and Other Opportunities in
the Field of Musicology, national AMS meeting in Columbus, Ohio, November,
2002
2001 Co-chaired a panel at the national AMS meeting in Atlanta on
opportunities for internships
2001 Program notes for the Tallahassee Community Chorus
1998-99 Program notes for the Bel Canto Chorus, St. Louis, Missouri
1999 Program notes for Washington University Faculty Chamber Recital, St.
Louis, Missouri
1998 Program notes for Florida State Universitys University Symphony
Orchestra, Tallahassee, Florida
206

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Electronic Theses, Treatises and Dissertations The Graduate School

Romantic Irony in the String Quartets of

ROMANTIC IRONY IN THE STRING QUARTETS OF FELIX

MENDELSSOHN BARTHOLDY AND ROBERT SCHUMANN

A Dissertation submitted to the

Larry and Diane Wildstein

1. ROMANTIC IRONY .............................................................................. 1

Background: General Definition and Categories of Irony 2

2. ROMANTIC IRONY IN MUSIC ............................................................ 11

3. ROMANTIC IRONY IN FELIX MENDELSSOHN

String Quartet in A Minor, op. 13 15

4. ROMANTIC IRONY IN ROBERT SCHUMANNS STRING

String Quartets op. 41, nos. 1-3 142

The Perceivable World of the Work 191

BIBLIOGRAPHY ........................................................................................ 199

BIOGRAPHICAL SKETCH ........................................................................ 206

Diagram 3.1. Felix Mendelssohn Bartholdy, String Quartet in A

Diagram 3.2. Felix Mendelssohn Bartholdy, String Quartet in A

Diagram 3.3. Felix Mendelssohn Bartholdy, String Quartet in A

Diagram 3.4. Felix Mendelssohn Bartholdy, String Quartet in A

Diagram 3.5. Felix Mendelssohn Bartholdy, String Quartet in E-flat

Diagram 3.6. Felix Mendelssohn Bartholdy, String Quartet in E-flat

Diagram 3.7. Felix Mendelssohn Bartholdy, String Quartet in E-flat

Diagram 3.8. Felix Mendelssohn Bartholdy, String Quartet in E-flat

Diagram 3.9. Felix Mendelssohn Bartholdy, String Quartet in E

Diagram 3.10. Felix Mendelssohn Bartholdy, String Quartet in E

Diagram 3.11. Felix Mendelssohn Bartholdy, String Quartet in E

Diagram 3.12. Felix Mendelssohn Bartholdy, String Quartet in E

Diagram 3.13. Felix Mendelssohn Bartholdy, String Quartet in E-flat

Diagram 3.14. Felix Mendelssohn Bartholdy, String Quartet in E-flat

Diagram 3.16. Felix Mendelssohn Bartholdy, String Quartet in E-flat

Diagram 3.17. Felix Mendelssohn Bartholdy, String Quartet in D

Diagram 3.18. Felix Mendelssohn Bartholdy, String Quartet in D

Diagram 3.19. Felix Mendelssohn Bartholdy, String Quartet in D

Diagram 3.20. Felix Mendelssohn Bartholdy, String Quartet in D

Diagram 3.21. Felix Mendelssohn Bartholdy, String Quartet in F

Diagram 3.22. Felix Mendelssohn Bartholdy, String Quartet in F

Diagram 3.23. Felix Mendelssohn Bartholdy, String Quartet in F

Diagram 3.24. Felix Mendelssohn Bartholdy, String Quartet in F

Diagram 4.1. Robert Schumann, String Quartet in A minor, op. 41

Diagram 4.2. Robert Schumann, String Quartet in A minor, op. 41

Diagram 4.3. Robert Schumann, String Quartet in A minor, op. 41

Diagram 4.4. Robert Schumann, String Quartet in A minor, op. 41

Diagram 4.5. Robert Schumann, String Quartet in F major, op. 41

Diagram 4.7. Robert Schumann, String Quartet in F major, op. 41

Diagram 4.8. Robert Schumann, String Quartet in F major, op. 41

Diagram 4.9. Robert Schumann, String Quartet in A major, op. 41

Diagram 4.10. Robert Schumann, String Quartet in A major, op. 41

Diagram 4.11. Robert Schumann, String Quartet in A major, op. 41

Diagram 4.12. Robert Schumann, String Quartet in A major, op. 41

Example 3.1. Felix Mendelssohn Bartholdy,

Example 3.2. Felix Mendelssohn Bartholdy,

Example 3.3. Felix Mendelssohn Bartholdy,

Example 3.4. Felix Mendelssohn Bartholdy,

Example 3.5. Felix Mendelssohn Bartholdy,

Example 3.6. Felix Mendelssohn Bartholdy,

Example 3.7. Felix Mendelssohn Bartholdy,

Example 3.8. Felix Mendelssohn Bartholdy,