Motivic Development in the Finale of Beethoven’s Last String Quartet: F-Major, No. 16, Opus 135

Motivic Development in the Finale of Beethoven’s Last String Quartet: F-Major, No. 16, Opus 135

by

Glenn P. Llorente

Fall 2013

Professor David Lefkowitz

Music 255: Advanced Tonal Analysis

UCLA

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Motivic Development in the Finale of Beethoven’s Last String Quartet: F-Major, No. 16, Opus 135

An analysis of the finale in Beethoven’s last string quartet (F-major, no. 16, Opus 135)

will attempt to trace its compositional motivic developments. This particular movement, which

Beethoven titled as, Der schwer gefasste Enthschluss (The difficult resolution), is unique

because the composer prefaced it with a motivic text setting: “Muss es sein? Es muss sein! Es

muss sein!” (Must it be? It must be! It must be!). Not only does the text pose many questions as

to what the ‘it’ (es) refers to, but also as to why ‘must’ (muss) it be so. If the same question is

applied to this movement musically, what ‘difficult resolution’ is it referring to within the

apparent motivic question (Muss es sein?) and answer (Es muss sein!)? Having all of these in

mind, this analysis will therefore attempt to trace the provided and implied motives in the finale,

and examine how these motives are developed and woven throughout the span of this movement.

Context

Composer’s Final Years and the String Quartet Medium (1824-1827)

During the last few years of his life (between 1824 and 1826), Beethoven primarily

composed for the string quartet medium.1 And with string quartets, the composer also seemed to

be occupied with composing contrapuntal works. In December of 1825, Beethoven completed

the B-flat String Quartet (op. 130): a six-movement piece, with a large fugue as its finale. After

its performance in March of 1826, the publisher requested Beethoven to replace the finale with

an easier version—since the original fugue was too difficult to perform and was not well

                                                                                                               1 Joseph Kerman, et al. “Beethoven, Ludwig van.” Grove Music Online. Oxford Music Online. Oxford

University Press, accessed December 17, 2013, http://www.oxfordmusiconline.com/subscriber/article/grove/music/40026pg10.

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received.2 Before Beethoven composed the alternate finale for opus 130, he was occupied in

composing yet another quartet in F-major (op. 135) between July and October of 1826. After he

completed opus 135, he then began writing the alternate finale for opus 130, completed in

November of 1826. Opus 130’s original finale was later published separately as a single

movement string quartet, named as the Grosse Fuge (op. 133).

Context of “Es muss sein!” Comic Cannon in 1826

The context of the “Es muss sein” motive evidently originates from a comic cannon

(WoO 1963) that Beethoven wrote a few months before writing the F-major quartet in 1826.4

This joke canon contains the text, “Es muss sein! Ja, heraus mit dem Beutel!”—which translates

as, “It must be! Yes, take out your wallet!” (see Appendix D). According to Lockwood, the story

pertains to an Ignaz Dembscher, who held house concerts by obtaining scores from Beethoven

directly. Since Dembscher did not attend the premiere (March, 1826) of the B-flat string quartet

(op. 130), Beethoven refused to let Dembscher have the music for his house performance—and

demanded that he pay the cost of the premiere’s subscription. It was then, when Dembscher

asked, “Muss es sein?”, that Beethoven wrote the joke canon and relayed back the response

through Holz.5 Whether or not this story programmatically translates in the finale of the F-major

quartet is of less importance. What does musically relate is the specific “Es muß sein” (A-C-G)

motive from the joke-canon (WoO 196), which Beethoven evidently uses in this finale. This

analysis will therefore trace the motivic developments of the “Muss es sein?” and the “Es muss

sein!” motives.

2 Kerman, et al. “Beethoven, Ludwig van.” Grove Music Online. 3 Alexander Wheelock Thayer, Ludwig van Beethovens Leben, 5, (Leipzig: Drud und Berlag von Breittopf

& Härtel, 1908): 302. 4 Lewis Lockwood, Beethoven: The Music and the Life (NY: W. W. Norton & Company, 2003): 480. 5 Lockwood, Beethoven, 480.

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Analytical Approaches

Summary of Form and Key-Areas

At the macro-level, the finale of Beethoven’s last quartet appears to be in sonata form,

with an exposition, development, and recapitulation (see Appendix B, Arc Diagram). The

exposition begins with a slow Grave ma non troppo tratto introduction in F-minor. It is then

contrasted in F-major with an Allegro tempo in the Primary and Secondary Theme Groups.

While the Primary Theme Group began in F-major, the Secondary Theme Group moves to A-

major. After the closing of the exposition, the development section moves through several

mediant-key areas (such as A-minor, D-minor, D-major, D-minor, A-flat major) before it

retransitions back to F-minor in the recapitulation.

When the movement recapitulates the exposition in F-minor in the slow Grave ma non

troppo tratto tempo, it includes the introduction materials while combining it with some primary

theme group materials. When it brings back the Allegro section, the primary theme group is

recapitulated in F-major, then transitions between B-flat major and D-major to move back to F-

major for the secondary theme group’s recapitulation. After the cadence of the secondary theme

group’s recapitulation, the movement closes with a coda in F-major, bringing back materials

from the secondary theme group before the final cadence (see Appendix B). (For a detailed

harmonic analysis, please refer to the score analysis in Appendix A).

Preface of Analytical Approaches for this Motivic Analysis

At the micro-level, the following will preface the analytical approaches applied in this

motivic analysis. This essay will attempt to trace how Beethoven develops his given motives in

the finale. Namely, it will trace two given movies and one implied motive (see Ex. 1). The first

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two given motives set specific text (provided in the score before the finale): “Muss es sein?” and

“Es muss sein! Es muss sein!” (see Ex. 1, X, Y). The first motive is labeled as “X” (first entrance

at m. 1, vla. & vc.) and the second as “Y” (first entrance at mm. 12-15, vlns.). Both instances of

Y are labeled the same, since the latter (mm. 14-15) is a sequence of the first (mm. 12-13).

Ex. 1. The Three Motives: X (m. 1), Y (mm. 12-13), and Z (mm. 17-18)

The implied third motive (with its first entrance at mm. 17-18) is labeled as “Z” (see Ex.

1, Z). This Z-motive essentially comes from Y, since Y’s minor third and perfect fourth intervals

(or Yi, cf. Fig. 1) are embedded within Z (see Ex. 1, Z). The embedding of Y’s intervals in Z

becomes evident after Y is chromatically inverted and retrograded (see Ex. 2). From this process,

the first, top, and last note of the retrograded and inverted Z-motive clearly outlines its Y-motive

structure (see Ex. 2, c).

Ex. 2. Z-motive as a retrograde inversion of the Y-motive with passing tones

Since it is evident that the Y-motive comes from the comic canon “Es muss sein” (WoO

196; see Appendix D), the X-motive is arguably derived also from the Y-motive. Just as the Z-

motive is derived from the Y-motive (see Ex. 2), the X-motive’s minor third and diminished

fourth intervals are merely an altered chromatic inversion of the Y-motive. By further

transposing the Y-motive’s altered chromatic inversion a major second down, and by changing

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its rhythm, this process generates the X-motive (see Ex. 3). Therefore, since both X and Z

derives from Y, it is possible that the Y-motive is essentially the main nuclear motive of this

entire movement.

Ex. 3. Y-motive permutations to generate the X-motive

However, since this movement uses permutations, combinations, and transformations of

the main nuclear “Es muss sein” motive (Y), all three motives (X, Y, and Z) will be further

categorized according to their three attributes: intervallic qualities (i), rhythmic/metric structure

(r), and motivic contour (c). The following labels are therefore applied to each motive, to

distinguish each motive’s intervallic, rhythmic/metric, or contour attributes (see Fig. 1).

Attributesè Interval (i)

Rhythm (r)

Contour (c) Motives ê

X Xi Xr Xc Y Yi Yr Yc Z Zi Zr Zc

Fig. 1. Table of Labels and Attributes for the X-, Y-, and Z-Motives

In this motivic analysis (see Appendix A), specific color-coded boxes are used to identify

each motive’s occurrences, permutations, and combinations (see Fig. 2). Motives that appear

closely intact with its intervallic (3rds and 4ths), rhythmic/metric, and motivic contour—

regardless of its transposition—are labeled with a solid line. For a motive to appear closely intact

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intervallicly, a recurrent motive should have similar interval attributes. For example, third

intervals can be any type of thirds (minor, major, augmented, or diminished), as long as they are

notationaly spelled as thirds. Otherwise, motives that deviate from its typical attributes

(intervallic, rhythmic/metric, contour) are labeled with a dashed line (see Fig. 2). In terms of

rhythmic/metric attributes, a recurrent motive motive should have a similar rhythm or meter from

its original (for example, a dotted rhythm may be implied in the t1-transition section, mm. 33-44).

In terms of motivic contour, this pertains to the shape of the motive (for example, the Y-motive

has a + motion up, then a – motion down).

The color-coding system colors the X-motives as red, Y-motives as light-green, and Z-

motives as blue. When select attributes of a motive appear within another motive, a combined

dashed and solid line is used to label such occurrences (see for example “Xi/r/c+Y” box in Fig.

2). Further more, an occurrence of the Y motive as an imitative “subject” (within a failed fugue-

like section) will be labeled within a dark-green box, and its same-colored tail will use dashed

lines. Additionally, pitches encircled with light-green circles (within another motive) are labeled

as embedded Yi-motives. These encircled pitches (yi) contain the Y-motive’s intervallic attribute,

while voiced inside a Z-motive (see Fig. 2, “y Z”; cf. Ex. 1, Z).

Fig. 2. Motive Legend using Color-Coded Motive Identification System

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Motivic Analysis

Introduction, mm. 1-12

Having outlined above the three motives in the finale of Beethoven’s last string quartet

(see Ex. 1), this motivic analysis will trace motives X, Y, and Z, along with their permutations.

Beginning at the Introduction, the Grave ma non troppo tratto features the X-motive in measures

1, 3, 7, 8, and 9.

In the first measure, the X motive seems to outline an augmented dominant chord in first

inversion, when considering the C in the violin along with the viola and cello’s E-Ab (G-natural

as passing). The viola and cello plays the X-motive in octaves, beginning with the original minor

third and diminished fourth intervals. As prefaced above, all five occurrences of X in measures

1-9 will be labeled with solid red boxes (see Appendix A, mm. 1, 3, 7-9), since these X-motives

appear closely intact with its original attributes (intervallic, rhythmic/metric, and motivic

contour). While the X-motive in measures 1 and 3 maintain its original interval (m3, D4),

rhythm/meter (dotted quarter rhythm & 3/2 meter), and motivic contour (m3 down, P4 up),

measures 7, 8, and 9 still closely relates to the original X-motive. Measure 7 employs a minor

third and augmented fourth; measure 8, a major third and perfect fourth; measure 9, a minor

third and perfect fourth. Thus, all occurrences of X in the introduction closely maintain the

original X-motive’s attributes (see Appendix A, mm. 1-9; Appendix C, Intro section of motive

map). The fifth occurrence, however, is also labeled with a dashed light-green box, because it

uses the Yi-motive (intervals only).

Continuing at measure 2 in the Introduction, an implied Z-motive appears in violins and

viola. At first, it seems that this first occurrence is the original Z-motive, but after analyzing the

entire movement, it is more evident that the original Z-motive begins in the Exposition, starting

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in measures 17-18 (vln. 1). The occurrences of Z-motives in measure 2 are either partial or

altered motives—and thus, labeled with dashed blue boxes (see Appendix A, mm. 2-4). Here,

after the entrance of the original X-motive (vla., vc.) in the first measure, a quasi-imitative Z-

motive counterpoint surfaces among the violins and viola (mm. 2-3). These materials seem to

propel the first two measures to sequentially repeat a perfect fourth up (mm. 3-4). When the said

pattern sequences in measures 3 and 4, it quickly breaks from its call-and-response gestures.

Starting from measures 5-12, homophony seems to take over the texture. While the X-motive

returns and interjects the homophony in measures 7-9, it inevitably succumbs to homophony.

When the violins eventually join the viola and cello’s dominant root note (C-natural, m. 12), all

string members resolves the dominant flat ninth chord to its root, pointing to the F-minor tonic

(mm. 10-12).

Exposition, mm. 13-84

At the pickup to measure 13, the F-major Allegro tempo begins the Exposition. This

creates a startling contrast between the previous Grave Introduction in F-minor. Right at the start,

the Y-motive leads the way, introduced by the violins (mm. 12-15), while the viola and cello

accompanies them by arpeggiating a dominant-to-tonic progression (mm. 13-16). Here, the

original pair of two Y-motives becomes the p1-theme (mm. 12-16) of the Primary Theme Group

(mm. 13-44).

The Z-motive (mm. 17-18) is introduced and sequenced over a tonic-pedal (mm. 17-24).

The combinations of three Z-motive sequences (2 complete, mm. 17-20; 1 partial, mm. 21-22)

become the p2-theme (mm. 17-24). After the first violin plays the p2-theme (mm. 17-24), it is

passed on to the second violin (mm. 25-32)—while the first violin echoes it an octave above

(mm. 26-31). Notice that most of these Z-motives are labeled with solid blue lines, because they

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closely maintain the original Z-motive’s attributes. The third sequence is labeled with a dashed

blue line because it is incomplete (mm. 21-22, 29-31). At measure 32, a Yrc-motive (vln. 1) is

used for the imperfect authentic cadence (mm. 31-32). It is labeled as Yrc because its intervallic

attribute has been altered (m3 and P4 intervals are retrograded in its order of sequence, to a P4

and m3).

To begin to transition away from the contrapuntal, quasi-imitative texture, a homophonic

transitional texture interjects, beginning at measure 33. Although notated as quarter note, double

quarter rest, and quarter note, the rhythm seems closely related to the X-motive’s dotted-rhythm,

but much faster. Perhaps, this t1-transition is related to X, and is labeled as Xr, using dashed red

line boxes. Additionally, this transition’s dotted-rhythm theme serves to transition from F-major

to A-major, using a Yic motive (vln. 1, m. 41) to pivot to the dominant of A major (mm. 41-44).

After modulating to the mediant, the quasi-imitative texture of the p2-theme returns as the t2-

transition (mm. 45-52) to the Secondary Theme Group. However, instead of a direct imitation of

the Z-motive (as in mm. 17-24), the p2-theme within the t2-transition is quasi-imitated by the

paired second violin and viola—playing 6th intervals of the Z-motive (mm. 45-51).

The Second Theme Group begins at measure 53, featuring the s1-theme in the cello,

while accompanied by sparse arpeggios among the violins and viola (mm. 53-60). Here, the cello

plays an antecedent (mm. 53-56) and consequent phrase (mm. 57-60). The materials used in the

s1-theme seem to contain a Yi-motive’s intervallic attributes: minor thirds and perfect fourths

(mm. 53-60). Notice in example 4 that the s1-theme is a derivation of the Yi’s intervallic

attributes. A reduction of the s1-theme, A-E-F#-B (see Ex. 4.5), which is then reordered by

fourths (Ex. 4.6), seems to closely relate to the fourths of a retrograded Yi-motive (see Ex. 4).

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Ex. 4. The derivation of the s1-theme from Yi’s intervallic attributes.

After the first introduction of the s1-theme (mm. 53-60), it repeats as an s1-prime, played

by the first violin (mm. 61-68)—while accompanied by the rest of the strings with similar sparse

arpeggios. The consequent phrase of the s1-prime theme (vln. 1, mm. 65-68) is echoed in the

cello a measure after the first violin (vc., mm. 66-68). After the second repetition of the s1-theme,

materials from p1 returns as an s2-theme, combining Y-motives and contrapuntal arpeggiations

(mm. 69-76). The s2-theme propels towards the closing section of the Exposition (mm. 77-84).

The combined s2-theme and K-closing section contains multiple Y-motives. Most of the

recurring Y-motives are harmonized by attributive-variations of Y (Yrc, vla., mm. 68-69; Yir,

vla., mm. 70-71; Yrc, vla., mm. 73-74; Yrc, vc., mm. 77-78; Yr, vln. 2, vla., vc., mm. 78-79; Yr,

vln. 2, vla., vc., mm. 80-81; Yrc, vln. 2, mm. 82-83).

Development, mm. 85-164

As the Development section begins, it continues to explore various permutations and

attributive-variations of the Y-motive. The Y-motive at the pickup to measure 85 (vln. 1) is also

harmonized by attributive-variations of the Y-motive (Yrc, vln. 2, mm. 84-85; Yr, vla., mm. 84-

85). One particular combination is the Xi+Y-motive in measures 86-87 by all members of the

quartet. In unison and in f tutti, the intervallic attribute of the X-motive—the minor third and

diminished fourth—are embedded within a Y-motive. Three more subsequent entrances of the

Y-motive follows after, with all playing in unison (mm. 87-91). This section seems to refer back

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to the transition (mm. 41-43), where the first violin outlines the dominant chord to A-major. Here,

Y-motive arpeggiations outline the dominant of the relative III in A-minor (mm. 87-91).

After the third unison Y-motive (mm. 90-91), the Development section continues by

bringing back the Z-motives of p2’’’, while combining it with the Y-motives of p1’’’ (mm. 92-

112). Rather than developing independently each motive (Y and Z from p1 and t2), Beethoven

intervolves both Z and Y motives by placing Z-motives in a quasi-imitative texture, while the Y-

motive outlines harmonically the contrapuntal texture. For example, the entrance of the second

violin’s Z-motive, measures 92-93, is harmonized with a V7/III chord by the cello and viola’s Y-

motives (although the viola has a Yr). This contrapuntal treatment continues until measure 112.

Essentially, Beethoven develops three p1-themes by juxtaposing the p2’s quasi-imitative

texture around it. Here are the three entrances of the p1-theme (a pair of Y-motives): (1) entrance

in the cello (mm. 92-95); (2) entrance in the first violin (mm. 96-99); (3) the first half of the p1-

theme (a single Y-motive) is first played by the viola (mm. 100-101), the passed on to the second

violin (mm. 102-103). After the three entrances of the p1-theme, the Y-motives are compressed

into two measures, rather than four. Hence, four and a half pairs of compressed Y-motives enter

between measures 103 and 112 (cf. Appendix A, mm. 85-112).

Just as Beethoven clears away from the thick contrapuntal texture between the Primary

Theme Group and the Transition (cf. mm. 13-32 vs. 33-44), the return of the s1-theme in

measure 113 also creates a similar effect. Here, the pentatonic theme is transposed to D-major,

played by the first violin, and accompanied homorhythmically by the second violin and viola

(mm. 113-123), along with the cello (mm. 121-123). However, there is an elision of the second

half of the s1-theme.

As the first violin completes the remaining 4 bars of the s1-theme, the cello repeats the

same second half at the last bar of the violin’s s1-theme (mm. 120-123). A bar after the cello

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elided the second half of the s1-theme, the first violin repeats the same half-theme again (mm.

121-124). Then, beginning at measure 124, a call and response takes place three times, between

the first violin’s descent from A-natural (m. 124) down to D-natural (m. 128). At each of the first

violin’s whole note (mm. 124, 126, 128), the second violin, viola, and cello answers by

harmonizing a repetition of the first violin’s 2-bar rhythm in measures 123-124. In general, the

texture in this section is largely homophonic (mm. 113-128) compared to the previous

occurrences of the s1-theme (first s1-theme at mm. 53-60; second at mm. 61-68). Yet, it is also

deceptively contrapuntal—in that Beethoven elides fragments of his theme, while maintaining a

homophonic texture (mm. 120-128).

Continuing from measure 129, the quasi-imitative Z-motives (from p2) returns, shifting

now to D-minor. Starting with the cello, the Z-motives return in a tonal descending sequence for

four bars (mm. 129-132), while the rest of the strings sustain the harmonies (mm. 129-132).

They switch roles at measure 133. Now, the cello sustains a D-natural pedal, while the first

violin play Z-motives over four bars, the second violin a Zr-motive, and the viola, a Zir-motive

(mm. 133-136). In measure 136, the cello breaks away from the D-natural pedal. Here, it begins

again to play a descending sequence of Z-motives, but this time sequencing a four-note pattern

(mm. 138-142) derived from the Z-motive of the reentry (mm. 136-137).

Interestingly, starting at measure 139, Beethoven juxtaposes the rhythm of the s1-theme,

harmonizing with the rest of the strings over the cello’s descending 4-note pattern (Zi-). The

descending Zi- or 4-note pattern of the cello ceases, when it joins the homophonic texture of the

rest of the strings (mm. 143-145). However, it brings back the 4-note descending pattern (Zi-) in

the first and second violins, pickup to measure 147. The texture then clears away again from

measures 151-158, bringing back the s1-theme’s homorhythmic texture.

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The harmonic progressions in the Development section moves from A-minor, beginning

at measure 85, then back to F-minor at measure 164. Throughout the development, Beethoven

shifts the tonal centers primarily through mediant relationships (see Fig. 3). This is not that

dissimilar to the Exposition section. Although the Introduction begins in F-minor, and the

Primary Theme Group shifts to F-major (a mere mode mixture of the F tonal center), the

Secondary Theme Group moves to A-major, a chromatic median of F-major. As the

Development section now retransitions in measures 159-164, it uses descending scales in the

second violin, viola, and cello, while the first violin sustains the dominant’s root and fifth above

(mm. 159-164).

iii/I in F vi/I in F V/ii in F vi/I in F III/i/I in F i/I in F A-minor D-minor D-major D-minor A-flat major F-minor

mm. 85-105 mm. 106-112 mm. 113-128 mm. 129-136 mm. 137-142 mm. 143-164 Fig. 3. Harmonic Motion of Tonal Centers in the Development (mm. 85-164)

Recapitulation, mm. 165-247

The Recapitulation begins by first bringing back the Introduction, before it recapitulates

the theme groups. Here, starting at measure 165, the once ambiguous chord in measure 1 has

now been confirmed as a dominant augmented chord in first inversion (mm. 165). This clarity is

due it part to the violins’ sixteenth-note tremolos, pedaling the dominant chord (mm. 165-166).

The once quasi-imitative texture in measure 2 does not recapitulate, but instead, the viola plays

the Z-motive, beginning with a C-Ab double stop, then closing the Z-motive from its descending-

to-ascending motion (vla., mm. 165-166). This pattern repeats in the next two measures, with the

cello playing the Z-motive (mm. 167-168).

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Here in measures 167-168, the violins continue its tremolo pedal, but now change to the

dominant of the iv-chord (mm. 167-168). What’s striking, is the dissonance between the C-

natural (vln. 1, m. 167) against the viola and cello’s D-flat, second beat of measure 167. In

combination of the violins’ first inversion V/iv chord pedal, a dominant flat-sixth chord in first

inversion emerges (m. 167). Arguably, since the violins are pedaling the harmonies in the first

five measures of the Recapitulation, the viola and cello’s motivic figures could be viewed as the

melody over the violins’ pedaling harmonies.

From measures 170-173, similar materials from the first Introduction are recapitulated,

but now with all string members play tremolos (while the vlns. vs. the vla./vc. play a sort of tug-

of war between the dominant and the diminished seventh harmonies). However, Beethoven also

recapitulates the Y-motives within the Introduction. Notice the Yrc-motives between the violins

in measures 173-174, followed by two Xi+Y motives in octaves in measures 174-176. All of

these attributive Y-motives (violins, mm. 173-176) are juxtaposed over X-motives (viola, cello,

mm. 173-176).

After recapitulating the Introduction, the Primary Theme Group begins its return, but in a

quasi-imitative or Fugato texture. Beginning at the A-natural pickup of measure 177 to measure

178 (vln. 1), a fugue subject is introduced, along with its tail (see Ex. 5). Notice that the subject

is a compressed version of the p1-theme’s Y-motives (compressed into two measures, rather than

four). Additionally, notice that the tail of this subject is derived from the Z-motive (see Ex. 5).

Ex. 5. Subject and Tail of the Failed Fugue in the Primary Theme Group’s Recapitulation

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The reason why this is a failed fugue, is due to the following reasons. First, the subject’s

entrance in the first violin is already contrapuntally accompanied with all other voices (mm. 178-

181). This is not typical of a strict fugue, where the subject enters the exposition alone. Second,

the rate at which the other subject enters is compressed. For example, the second subject’s

entrance in the second violin (mm. 181-185) is juxtaposed over the third subject-entrance in the

viola, two measures early (mm. 183-187). This same compression pattern also happens to the

fourth subject-entrance in the cello (mm. 185-189), encroaching over the tail of the viola’s third

subject-entry. If this wasn’t enough, the violin plays the fifth subject-entrance, while also

encroaching to the cello’s fourth subject-entrance—and even plays the subject twice in a row,

without playing the tail (mm. 187-191). Thus, this section is more of a Fugato than a fugue.

To break away from the Fugato section, the transition is recapitulated beginning in

measure 192. Here, it is transposed to the IV pre-dominant, in B-flat major (mm. 192-203). The

transition’s recapitulation serves to pivot the harmonic motion to D-major in the next Secondary

Theme Group, beginning at measure 204. Now that the harmony has shifted to the V/ii in F-

major, the new D-major key signature is again a chromatic mediant away from the F-major home

key. As the t2-transition materials are recapitulated in D-major (mm. 204-211), it pivots to an

unclear vi/I in F-major (m. 211), to shift back to F-major for the Secondary Theme Group (mm.

220-235).

In the Recapitulation of the t2-transition, similar use of the Z-motives are prominent,

although slightly altered to accommodate the harmonic shifts of chromatic mediant keys. Notice

that octave-pairs of Yir-retrograde motives are now used in the violins (mm. 205-208).

Meanwhile, the cello sequences three Z-motives and breaks off (mm. 204-209), while the viola

pedals on D-natural 7 bars (mm. 204-210) then breaks off (m. 211). The t2-theme is restarted

again, but now shifted to F-major, using similar treatments of Z-motives (vln. 1, mm. 212-217;

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cello, mm. 212-216), pedal tones (vla., F-pedal, mm. 212-217; double-stop F-G pedal, mm. 218-

219), and free counterpoint (vln. 2, mm. 212-219).

The recapitulation of the Secondary Theme Group begins in measure 220, with an almost

exact recapitulation, as in the Exposition. However, the s1-theme’s recapitulation is now in the

home key, F-major (mm. 220-227). The main differences are the following.

(1) The cello’s s1-theme recapitulation is several octaves up (in the treble clef);

(2) the sparse and displaced arpeggios among the other string members have been

configured to suite the appropriate new key range in F-major;

(3) the second repetition of the s1-theme (mm. 228-235) is slightly altered—such as the

perfect fourth interval of the second half of the s1-theme (cf. m. 224) as been inverted to

a perfect fifth (m. 232);

(4) within the s2-theme extension (mm. 236-239), the contrapuntal figures that was once

in the first violin, have now been exchanged with the cello (cf. cello, mm. 236-239 vs.

vln. 1, mm. 69-72).

Overall, the structure of the Secondary Theme Group’s recapitulation is the same (24 measures),

except that it is now in F-major with some slight differences (see Appendix B, Arc Diagram, cf.

Expo. vs. Recap.).

Coda

The Coda begins at the second ending of the Recapitulation’s closing (m. 248). Measures

248-254 features primarily the return of various attributive Y-motives, indefinitely sustained by

fermatas after each chord. Here, fermata gestures are executed by pairs to complete the numerous

dimished seventh chords (mm. 248-252). The first violin’s Y-motive pairs with the cello’s Yr

harmonization of the a diminished seventh in third inversion; then, the second violin pairs with

17

the viola to complete the diminished seventh chord on a fermata (mm. 248-250). This pattern

repeats again with the same instrument pairs, but now outlining a diminished seventh of the ii-

chord in F-major (mm. 250-252).

The third and final held chord is a relative sixth-minor of the Neapolitan—a uniquely

spelled E-flat minor triad (mm. 252-254). The enharmonic spelling of this triad is perhaps due to

Beethoven’s continuous assertion of motivic importance. While he could have spelled the F-

sharp (between the violins and viola) as G-flat for the E-flat minor triad (mm. 252-254), he

precisely spelled it as F-sharp because this maintains the Y-motive’s intervallic attribute of thirds

and fourths—while embedding the X-motive’s minor third and diminished fourth intervals (mm.

252-254). Incidentally, the return of these X and Y attributes not only points back to the slow

introduction section, but the Poco adagio and its fermatas echo the stark contrasts against the

Allegro sections.

With the Coda’s move towards its final closing cadence (m. 271-282), the s1-theme

returns and brings back the Allegro tempo (mm. 255-262). However, this recurrence not only is

largely homophonic, but also returns in pizzicatos (mm. 255-262). The second recurrence moves

the s1-theme from the first violin to the second violin (mm. 263-270). Here, the first violin’s

arco figures creates a contrast between the rest of the strings’ pizzicato texture (mm. 263-270).

At the final closing section (mm. 271-282), the dominant pedal emerges between the

cello and viola, while the second violin brings back the compressed Y-motives (mm. 271-278).

After the first violin completes its offset-descending scale (mm. 271-278), all members of the

string quartet play their respective attributive Y-motives in unison (Y, mm. 278-279; Yrc, mm.

279-280; Yr, Yrc, mm. 280-281), aiming towards the final perfect authentic cadence (mm. 281-

282).

18

Conclusion

In light of this movement’s context and the compositional motivic developments I have

dissected, it is perhaps probable that Beethoven’s F-major quartet is the composer’s attempt to

find an answer to solve the ‘difficult resolution’ regarding how to “fix” or replace the finale of

the B-flat quartet (op. 130). Since he composed this F-major quartet before he wrote the

alternative finale of opus 130, this movement is perhaps Beethoven’s attempt to practice creating

a quasi-fugue or Fugato—in preparation for writing the Große Fuge’s replacement. With this

context in mind, it illuminates a new meaning to the failed-fugue section of the p1-theme’s

recapitulation.

It is however evident that Beethoven does finds a way to solve musically the ‘difficult

resolution’, if one were to ask: “How can one resolve or transform (i.e., from dissonance to

consonance) the X-motive to the Y-motive, and vice versa?” Clearly, the composer, in his

masterfully developmental technique accomplished this in this finale (and in many other well-

known Beethoven works). It is confirmed, through this movement, that Beethoven is largely

developmental with a single motive. Here, in this finale, the entire movement could be arguably

based on a single Y-motive—which is, afterall, the “Es muss sein!” motive from his joke canon.

With the X-motive as merely an attributively altered inversion of the Y-motive—and with most

of the thematic materials traceable to the Y-motive—this entire movement could be viewed as

mono-motivic and monothematic. Although there are more than one developed themes in this

movement, most of them are clearly traceable to a single motive.

19

Bibliography

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Bumpass, Laura Kathryn. “Beethoven’s Last Quartet: Volume I: Background and the Autograph Materials. Volume II: Transcriptions.” PhD diss., University of Illinois at Urbana-Champaign, 1982.

Grew, Sydney. “The ‘Grosse Fuge’: An Analysis.” Music & Letters, 12, no. 3 (1931): 253-261.

Kerman, Joseph, et al. “Beethoven, Ludwig van.” Grove Music Online. Oxford Music Online. Oxford University Press, accessed December 13, 2013, http://www.oxfordmusiconline.com/subscriber/article/grove/music/40026pg10.

Kinderman, William. The String Quartets of Beethoven. IL, Urbana: University of Illinois Press, 2006.

Knittel, Kristen M. “‘Late’, Last, and Leas: On Being Beethoven’s Quartet in F Major, op. 135.” Music and Letters, 87, no. 1 (2006): 16-51.

_____. “From Chaos to History: The Reception of Beethoven’s Late Quartets.” PhD diss., Princeton, NJ: Princeton University, 1992.

Lockwood, Lewis. Beethoven: The Music and the Life. NY: W. W. Norton & Company, 2003.

Ratner, Leonard G. The Beethoven String Quartets: Compositional Strategies and Rhetoric. Stanford, CA: Stanford Bookstore, 1995.

Reynolds, Christopher. “The Representational Impulse in Late Beethoven, II: String Quartet in F Major, Op. 135.” Acta Musicologica, 60, no. 2 (1988): 180-194.

Silverman, Gerald. “New Light, but Also More Confusion, on ‘Es muss sein’.” The Musical Times, 144, no. 1884 (2003): 51-53.

Thayer, Alexander Wheelock. Ludwig van Beethovens Leben, 5. Leipzig: Drud und Berlag von Breittopf & Härtel, 1908.

_____., et al. Thayer’s Life of Beethoven. NJ: Princeton University Press, 1964.

Truscott, Harold. Beethoven’s Late String Quartets. London: Dobson, 1968.

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Appendix A: Motivic Analysis

21

22

23

24

25

26

27

Appendix B: Arc Diagram

28

29

30

31

Appendix C: Motive Map

32

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Appendix D: Transcription of WoO196

Transcription of “Es muss sein!” (WoO 196, 1826)

from Alexander Wheelock Thayer’s Ludwig van Beethovens Leben6

                                                                                                               6 Alexander Wheelock Thayer, Ludwig van Beethovens Leben, 5, (Leipzig: Drud und Berlag von Breittopf & Härtel, 1908):

302.