String Quartet in D major Op 18 No 3 (1799-1800)

The first Beethoven work of its kind in order of composition, the Quartet in D major was not the first in order of publication. Before releasing to the world his Op.18 set of string quartets, which would inevitably invite comparison with the masterpieces of Haydn and Mozart, he changed the order he originally had in mind and opened the set with the F major, which has a very much more striking beginning. The Allegro of the Quartet in D major is a melodically abundant but comparatively elusive construction that simply floats in on a rising seventh on first violin. The Andante con moto, with its expressive main theme introduced on the G-string of the second violin, anticipates something of the fervour of the slow movements of the late quartets but, unlike the Adagio of the F major, sacrifices consistency of tone for variety in colour and texture. The two remaining movements are less discursive and more concerned with sustaining the forward impetus. The single-minded Scherzo has little room for diversion and the final Presto is a brilliantly sustained demonstration of rhythmic wit and deftly scored counterpoint.

According to two separate witnesses, both of whom knew Beethoven very well, the Quartet in D major was the first of the Op.18 set to be written. It was not, however, presented as the first in order of publication. While it is in no way inferior to its companions, the thinking apparently was that, coming from a composer who had as yet no reputation as far as the string quartet was concerned, the firmly purposeful F major was more likely to make a positive first impression.

The opening Allegro of the Quartet in D major is an elusive construction that simply floats in on a rising seventh on first violin. Although that short but distinctive motif is taken up by the other instruments, it does not long retain its profile in an exposition both prodigal and capricious in presenting its widely varied thematic material. Similarly, it opens but does not dominate the development and, while it enables the second violin to make a magical entry into the recapitulation – where Beethoven significantly reduces the thematic abundance – it fulfils its long-term function only in an inspired after-thought of a coda.

The B flat major Andante con moto, with its expressive main theme introduced on the G-string of the second violin, anticipates in its opening bars something of the fervour of the slow movements of the late quartets. Unlike the romantically inclined Adagio of the Quartet in F major, however, it sacrifices consistency of tone for variety in colour and texture, including an engagingly eccentric exchange of tiny thematic fragments in a delicately stealthy pianissimo. The central section of the movement, on the other hand, after the first return of the main theme, is entirely serious about exploring its emotional and harmonic implications.

The two remaining movements are less discursive and more concerned with sustaining the forward impetus. Except in the brief but delightfully coloured pizzicato transition from the D minor middle section back to the D major scherzo material, the single-minded Allegro has no room for diversion. The final Presto is a brilliantly sustained demonstration of rhythmic wit and deftly scored counterpoint constantly renewing itself on its first three notes until their potential is exhausted in the closing bars.

According to two separate witnesses, both of whom knew Beethoven very well, the Quartet in D major was the first of the Op.18 set to be written. It was not, however, presented as the first in order of publication. Apparently on the advice of the composer’s violinist friend and trusted chamber-music specialist Ignaz Schuppanzigh, the Quartet in F major was chosen to head the series while the D major was relegated to a less prominent place in the middle. The D major work is in no way inferior but, coming from a composer who had as yet no track-record as far as the string quartet was concerned, the firmly purposeful F major was more likely to make a positive first impression.

The opening Allegro of the Quartet in D major is an elusive construction that simply floats in on a rising seventh on first violin. Although that short but distinctive motif is taken up by the other instruments, it does not long retain its profile in an exposition both prodigal and capricious in presenting its widely varied thematic material. Similarly, it opens but does not dominate the development and, while it enables the second violin to make a magical entry into the recapitulation - where Beethoven significantly reduces the thematic abundance - it fulfils its long-term function only in an inspired after-thought of a coda.

The B flat major Andante con moto, with its expressive main theme introduced on the G-string of the second violin, anticipates in its opening bars something of the fervour of the slow movements of the late quartets. Unlike the romantically inclined Adagio of the Quartet in F major, however, it sacrifices consistency of tone for variety in colour and texture, including an engagingly eccentric exchange of tiny thematic fragments in a delicately stealthy pianissimo. The central section of the movement, on the other hand, after the first return of the main theme, is entirely serious about exploring its emotional and harmonic implications.

The two remaining movements are less discursive and more concerned with sustaining the forward impetus. Except in the brief but delightfully coloured pizzicato transition from the D minor middle section back to the D major scherzo material, the single-minded Allegro has no room for diversion. The final Presto is a brilliantly sustained demonstration of rhythmic wit and deftly scored counterpoint constantly renewing itself on its first three notes until their potential is exhausted in the closing bars.