Concerning the Principles of Baroque Cycle Formation in Beethoven’s String Quartets
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Abstract
The article presents a systematization of theoretical observations
on the construction of Baroque sonata cycles and on groups of
cycles – the “super-cycles” of Corelli, Handel and J.S. Bach. The
tendency towards a multilevel cycle formation is continued in the
music of the Viennese classics, who preserve the numerological
principle of groupings of cycles and transform the principles of
musical dramaturgy onto a new level. The author examines two
groups of Beethoven’s string quartet cycles: the String Quartets
No.1-6, opus 18 (1798–1800) and the six late works for the
medium, opus 127–135 (1824–1826).
The principles of Baroque cycle formation are concentrated
in the String Quartets opus 130–133 with their large numbers of
movements. The metric and rhythmical variation of the stable
pitch complexes unifies these quartets together and presents the
basis of the thematic organization of the Grosse Fuge opus 133.
The repeated recreation of the Baroque opposition of “slow-fast,”
the frequent shifts of tempi and sudden break-offs heighten the
intensity of the vectorial dramaturgy with the idea of light and
happiness at the conclusive stage of development. The revival of
Baroque traditions in Beethoven’s String Quartets of his “third
style” anticipates the idea of the “super-cycle” in contemporary
music.
Keywords: cycle formation, cycle, super-cycle, musical
dramaturgy, contrast, symmetry
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