Notes: String Quartet No. 10, "Harp" (1810)

Article on the Harp quartet at Kennedy-center.org


A brief history of Beethoven's 16 string quartets

     Beethoven's first six string quartets were published in 1801 as Opus 18.  Being his first foray into the formidable string quartet format, they were very much in the classical style of Haydn and Mozart and eschewed some of the more turbulent sounds of his earlier piano sonatas.

     In 1806, Beethoven published string quartets 7, 8, and 9 as Opus 59.  They collectively are known as the "Rasumovsky quartets" as they were commissioned by Prince Andrey Razumovsky, a Russian diplomat in Vienna.  They each have melodies based on Russian folk songs.  These three quartets move away from the strict classical style in being more expansive in scope and containing some turbulent passages. Legend has it that when the Italian violinist Felix Radicati complained that Beethoven’s Opus 59 Quartets were “not music”, the composer responded: “Oh, they are not for you, but for a later age.” 


     The "Harp" quartet (String Quartet No. 10 in Eb major, Opus 74) from 1810 gets its name from the plucking of violin strings in the first movement that sound similar to a plucked harp.  

     The next year, 1811, Beethoven wrote his 11th String Quartet, the "Serioso."  Its introspective serious nature will foreshadow his "late period" compositional style, but at this point Beethoven does not recognize the next path he will pursue starting in 1816.  Beethoven wrote that the Serioso was only for connoisseurs and was not to be played in public.  

It would be 13 years before Beethoven returns to writing string quartets, and the five he will write in 1825-1826 will be his last major compositions.  These "late" quartets are still considered the pinnacle of string quartet composing. 


The Harp Quartet's music


     String Quartet No. 10 in E♭ major, Op. 74   ("Harp")  (1810)   Alban Berg Quartet  


  The first movement is in the traditional sonata form.  

  Although its first movement is an prime example of Beethoven's use of tension and compaction,
  it's mood is never more disturbing than slightly melancholic.

      I.   Poco adagio – Allegro   (9:14)

                    Slow introduction – Poco adagio (mm. 1–24)  1:34 

                     Exposition – Allegro (mm. 25–77) 

                            1st tonal area, E♭ major (mm. 25–51)  

                            Pizzicati lead transition to tonal area 2 (the harp sounds)

                            2nd tonal area, B♭ major (mm. 52–69)

                           Closing (mm. 70–77)

                    Development (mm. 78–139)

                    Recapitulation (mm. 140–205)

                    Coda (mm. 206–262)


  The second movement is a beautiful adagio  in rondo form with the quality of a quiet longing.

     II.    Adagio ma non troppo    (8:40)


  The third movement is a boisterous scherzo reminiscent of the scherzo in the 5th symphony. 

    III.    Presto   (5:10)

                   Scherzo, C minor (mm. 1–76)

                   Trio, C major (mm. 77–169)

                   Scherzo (mm. 170–245)

                  Trio (mm. 246–338)

                  Scherzo (mm. 339–467)


  The fourth movement is a set of ornamental variations on a theme in E♭ major.

       IV.   Allegretto con Variazioni.     (6:30)


      The fourth movement is in the classical style of Haydn and Mozart.   It has puzzled music historians as to why Beethoven reverted to this style at this point in his career.