String Quartet (Franck)

String Quartet in D major is the only string quartet composed by César Franck. The work was written from 1889 to 1890.

Background

The creative life of Franck is broadly divided into three periods.[1] During the first period (1841-1858), when his ambitious father forced him to be active as a virtuoso pianist,[2] Franck wrote works for chamber music, including four piano trios numbered as the composer's Op.1 and 2. Franck received advice from Franz Liszt, who commented, about 40 years later, on hearing an organ performance by Franck at Sainte-Clotilde, Paris, "How could I ever forget the composer of those trios?"[3] However, during the second period (1858-1876), when Franck dedicated himself to the organ, he did not compose any notable works for this genre.[1] Masterpieces of Franck, including the Piano Quintet F minor (1879), the Violin Sonata A major (1886) and this quartet, were written in the third period started from 1876. Since his next chamber work, the second violin sonata, was not finished due to his death in 1890, this string quartet was to be his last chamber work.[4]

Franck started a sketch of this work at the beginning of 1889.[5][n 1] He commenced with the first movement, and, through at least three different versions, completed the final version of it on October 29.[6] After quickly finishing the second movement by November 9,[6] he completed the entire work on January 15, 1890.[5] Vincent d'Indy, one of Franck's celebrated pupils, noted that Franck had already considered writing a string quartet as early as the 1870s.[n 2] It was in the 1870s that the Société Nationale de Musique, which Franck joined as one of the founding members, was established in order to promote the French classical music tradition instead of stage music; it dominated the country's music scene at that time under influential musicians including Jacques Offenbach.[6] Although Franck abandoned his string quartet, he resumed in 1888, and, as d'Indy recalled, he learned the scores of string quartets by Beethoven and Schubert on his piano for intensive study.[6][n 3] Many elements of Franck's string quartet are considered to stem from Beethoven's later works,[7] but traces of Beethoven are not superficially visible.[6]

During his life, this work was his first public success.[8] Franck, known as a late-flowering composer, had attracted little attention from audiences. Even the Symphony D minor and the Prelude, Aria et Final, whose reputation is well established today, were disastrously premiered.[9][10] However, he never pandered to the French public taste of the day and never ceased pursuing his ideal of music, gradually attracting interest from the public as well as professionals through masterpieces such as his violin sonata.[11] Finally, on 19 April 1890, in the concert of the Société Nationale de Musique at Salle Pleyel, the premier of this work was received with thunderous applause.[6][8] This was just seven months before his death.

The score of this work was published in 1892,[12] and edition by Hamelle, Paris, was widely used in 1906.[5]

Structure

This work consists of four movements, which are tightly united by cyclic form. A complete performance lasts 50 minutes, approximately[5]

First movement

Poco lento - Allegro 4/4 D major

This movement, written in unusual sonata form[4] combined with ternary form,[6] begins with large introduction. On harmonic accompaniment of strings, first violin plays main theme of introduction. (Excerpt 1) This subject will appear in this and later movements as the first cyclic theme.[5] Introduction comprises Excerpt 1 and Excerpt 2, which is played quietly in contrast.

Excerpt 1 \relative c' { \key d \major \time 4/4 \tempo "Poco lento." r4_\markup {\dynamic ff \italic {molto largamente e sostenuto} } a''4 fis d~ d fis' e d a g8 b a4 r r a fis d~ d fis' d cis c aes8 g f4 r }

Excerpt 2 \relative c' \new Staff \with { \remove "Time_signature_engraver" } { \key d \major \time 4/4 e'4\pp( fis8 e a4 g8 fis) e2. e8( a) a4 e8( cis') cis4( c)~ c8 a( c, d) e2 }

A rhythm, predicted at the last of introduction, leads main part of sonata form in D minor starting with exposition of first subject. (Excerpt 3)

Excerpt 3 \relative c' { \key d \minor \time 4/4 \tempo "Allegro" g'8.\p( f16) f2( g4) e8.( d16) d2 a'4(~ a8 bes) g4(~ g8 d) g4(~ g8 aes g f)~ f f(e d) e( g4 f8) fis( a4 g8) }

Excerpt 4, played by cello during energetic transition, will play an important role in finale as the second cyclic theme.[5]

Excerpt 4 \relative c' \new Staff \with { \remove "Time_signature_engraver" } { \key d \minor \time 4/4 \clef bass d, 4_\markup { \italic {marcato e vibrato} }( a'2 bes8 f) g8. a16 a2. d,8( a' c2 d8 a) b8.( c16 c2.) }

Excerpt 4 is also played by violin. Passionate climax is smoothly connected to the exposition of second subject, in F major, appeared in dialogue between first violin and viola. (Excerpt 5)

Excerpt 5 \relative c' \new Staff \with { \remove "Time_signature_engraver" } { \key d \minor \time 4/4 g''8_\markup{ \italic {dolce espress.} }( f g a) f2(~ f8 e f g) e( d c4~ c4.) }

Next climax calms down with codetta using Excerpt 3, and the exposition part is closed. In development part, Poco Lento, viola starts fugue based on Excerpt 1,[13] followed by second violin, cello and first violin.[14] Conventional development of the first subject (Excerpt 3), again Allegro, comes after emotional end of fugue. Development also includes Excerpt4, 5 and many other materials. Reappearance of the first subject in D minor proclaims the opening of recapitulation,[n 4] followed by Excerpt 4. Second subject will be shown in B major, but, just four bars later, modulated into D major, which leads the reappearance of introduction part, Poco Lento, in the same tonality. Echoes of Excerpt 3, following Excerpt 1 and 2, conclude the movement.

Second movement

Scherzo: Vivace 3/8 F-sharp minor

Movement coloured by Mendelssohnian lightness.[6] Impressive ascending notes, as shown in Excerpt 6, opens the movement. Effective frequent tacet insertions are observed here.[6][14]

Excerpt 6 \new StaffGroup << \new Staff { \relative c' { \key fis \minor \time 3/8 \tempo "Vivace." R2*3/4*3_\markup{ \italic {avec sourdine} } a'16-.\pp \< bis-. dis-. fis-. a-. << bis-. { s32 s\! } >> << cis16-. { s32 s\> } >> a16-. fis-. cis-. a-.\! fis-. R2*3/4 } } \new Staff { \relative c' { \key fis \minor \time 3/8 R2*3/4*2_\markup{ \italic {avec sourdine} } dis16\pp( eis) fis-. fis-. fis-. fis-. << dis8-. {s32 s16.\<} >> fis8-. << dis-. { s16\! s } >> << cis8-. { s16 s\> } >> fis8-. a-.\! R2*3/4 } } \new Staff { \relative c' { \key fis \minor \time 3/8 \clef C R2*3/4_\markup{ \italic {avec sourdine} } a16\pp( b) bis-. bis-. bis-. bis-. a( b) bis-. bis-. bis-. bis-. << dis8-. {s32 s16.\<} >> a8-. << fis-. { s16\! s } >> << fis8-. { s16 s\> } >> a8-. cis-.\! R2*3/4 } } \new Staff { \relative c' { \key fis \minor \time 3/8 \clef bass fis,16_\markup{ \dynamic pp \italic {avec sourdine} }( gis) a-. a-. a-. a-. fis( gis) a-. a-. a-. a-. fis( gis) a-. a-. a-. a-. << fis8-. {s32 s16.\<} >> bis,8-. << a-.{ s16\! s } >> << a8-. { s16 s\> } >> cis8-. fis-.\! R2*3/4 } } >>

Another main subject, Excerpt 7, is played by first violin in contrasting fluent manner.[13]

Excerpt 7 \relative c' \new Staff \with { \remove "Time_signature_engraver" } { \key fis \minor \time 3/8 d8_\markup{ \italic sempre \dynamic pp }( fis8. eis16) a4( gis8) eis( a8. gis16) cis8.( a16 fis8) fis'4. e8( cis g') fis4. e8( cis a') gis8( e4) e8( cis4) cis8-. a-. gis-. fis-. }

Trio, based on Excerpt 8, is also interrupted by a number of rests elongated with fermata. In the middle of trio, cello covertly plays Excerpt 1.[13]

Excerpt 8 \relative c' \new Staff \with { \remove "Time_signature_engraver" } { \key fis \minor \time 3/8 d4( gis8) gis4( fis8) fis4( b8) b4( a8) a4( \( bes8)~ bes\< d f\! \) (~ f\> e cis\! bes gis e) R2*3/4\fermataMarkup }

Afterwards, Excerpt 6, accompanied with pizzicato, comes back and is soon bridged to Excerpt 7. Finally, quiet coda with Excerpt 8 ends with pizzicato.

Third movement

Larghetto 3/4 B major

Structure of this movement is close to ternary form. Lyrical opening theme, Excerpt 9, is supposed to have originated from Excerpt 1 and 4.[15]

Excerpt 9 \relative c' { \key b \major \time 3/4 \tempo "Larghetto." \partial 4 dis'4_\markup{ \italic {dolce, molto cantabile } } cis( b) e8.( dis16) dis4( cis) dis b4. ais8[( b8. gis16)] gis4( fis) a8.( gis16) gis8( cis) ais4.( gis8) fis( b) g4.( fis8) fis\dim ( eis\! gis b) \times 2/3 { cis8( d b) } d4( cis) }

The first part of this movement forms ternary form by itself, with reappearance of Excerpt 9 after exposition of Excerpt 10.[13]

Excerpt 10[n 5] \relative c' \new Staff \with { \remove "Time_signature_engraver" } { \key b \major \time 3/4 \partial 4 \times 2/3 { b8\f( a gis) } cis2 \times 2/3 { b8( a gis) } cis( e) cis4 \times 2/3 { c8( d a) } \times 2/3 { b( cis gis) } \times 2/3 { a\dim ( bis\! dis } \times 2/3 { eis fis a) } }

In the second part, passionate melody is exhibited by first violin on the accompaniment of extended arpeggio. (Excerpt 11) Excerpt 11 has already appeared in middle voice during the exposition of Excerpt 10.[16] Repeated modulation prevents determination of tonality, though key signature is written in C major.

Excerpt 11 \relative c' \new Staff \with { \remove "Time_signature_engraver" } { \key c \major \time 3/4 g'''2_\markup{ \dynamic ff \italic { ed appassionato } }( f4) f2( e4) e c a a2 g4_\markup{ \italic{ molto meno } \dynamic f }~ g8 g( c e g g) g( fis es c aes ges) << f( { s16. s64\dim s\! } >> b8 d f aes f) d-.( b4-. aes-. f8-.) }

After the climax of middle part, Excerpt 9 is recapitulated in ppp. This third part is not simple reemerging of the first part; it is rather shortened and it includes elements of second part in Poco Animato. Finally, Excerpt 10 quietly closes the movement.

Fourth movement

Finale: Allegro molto 2/2 D major

This movement is written in extended sonata form.[16] Synchronized phrase shown in Excerpt 12 connected original form of main subjects from previous movements at the beginning of the finale;[18] Excerpt 9 from third movement, Excerpt 6 from second movement and then Excerpt 1 from first movement.[14] This reminds people of finale from Beethoven's ninth symphony,[6][7] and Franck himself has tried the same method in his organ piece Grande Pièce Symphonique.

Excerpt 12 \new StaffGroup << \new Staff { \relative c' { \key b \minor \time 2/2 \tempo "Allegro molto." r4 fis\ff a gis g( fis) fis--( g--) fis a c b bes( a) a-- bes-- a c f g a bes c bes \bar "||" \time 3/4 a r\fermata } } \new Staff { \relative c' { \key b \minor \time 2/2 r4 fis\ff a gis g( fis) fis--( g--) fis a c b bes( a) a-- bes-- a c f g a bes c bes \bar "||" \time 3/4 a r\fermata } } \new Staff { \relative c' { \key b \minor \time 2/2 \clef C r4 fis,\ff a gis g( fis) fis--( g--) fis a c b bes( a) a-- bes-- a c f g a bes c bes \bar "||" \time 3/4 a r\fermata } } \new Staff { \relative c' { \key b \minor \time 2/2 \clef bass r4 fis, \ff a gis g( fis) fis--( g--) fis a c b bes( a) a-- bes-- a c f g a bes c bes \bar "||" \time 3/4 << a2 { s4\dim s4\! } >> } } >>

After the introduction, main subjects are exposed. The first subject, (Excerpt 13) exposed on viola, is induced from Excerpt 1.

Excerpt 13 \relative c' { \key d \major \time 2/2 \tempo "Allegro molto." \clef C r4_\markup{ \italic { non troppo dolce } } a( fis d~ d fis' e d) r a( g b a cis d e) r a,( fis d~ d fis' e d) r d( c e) e( d e fis) }

Following the brief conclusion with fragment of Excerpt 12, series of second subjects will appear. There are three materials shown in the order as follows; Excerpt 14 which is transformation of Excerpt 4,[18] Excerpt 15 played with rigorous accompaniment of Excerpt 12, and encouraging Excerpt 16.

Excerpt 14 \relative c' \new Staff \with { \remove "Time_signature_engraver" } { \key d \major \time 2/2 d2_\markup{ \dynamic pp \italic subito }( a' b fis)~ fis cis'( d a) }

Excerpt 15 \relative c' \new Staff \with { \remove "Time_signature_engraver" } { \key d \major \time 2/2 \partial 4 b''4\ff c2._\markup{ \italic marcatissimo. }( gis4--) a2.( f4--) e2.^\markup{ \italic segue } d4 cis2 }

Excerpt 16 \relative c' \new Staff \with { \remove "Time_signature_engraver" } { \key d \major \time 2/2 << c'4 { s8^\markup{ \italic { molto energico } } s_\markup{ \italic sempre \dynamic ff } } >> d4 e f e2. c4 f g a bes a1~ a4 b c a f'1~ f4( es) c a e1 }

In the development, Franck combines major subjects in way of counterpoint. Additionally, Excerpt 1 will be added and Excerpt 12 repeatedly appears to change atmosphere.[18] Although the beginning of recapitulation is not clear, second reappearance of first subject, at approximately 500 bars, is followed by second subjects. At the last of recapitulation part, Excerpt 6 suddenly emerges from silence. This marks the advent of coda, where Excerpt 6 dominates in counterpoint with Excerpt 13. At the final climax, Excerpt 9 is sung dramatically in elongated note value. Contained emotion after climax will turn into Excerpt 12, in Presto, which rushes into conclusion of music.

Notes and references

Notes

  1. ↑ According to another reference, it was 29 October 1889.[4]
  2. ↑ Two references insists different years; one for the beginning of 1870,[6] the other for around 1878.[5]
  3. ↑ Same story is also dated to around 1878 in another reference.[5]
  4. ↑ A reference says that recapitulation begins with the first subject in "G minor",[4] presumably mistaking development part as recapitulation.
  5. ↑ Score from Hamelle shows cis note at third bar, third beat,[14] despite c note shown by Hirano[16] and heard in record.[17]

References

  1. 1 2 Hirano, p. 426.
  2. ↑ Yashiro, p. 15.
  3. ↑ "CHANDOS "Franck Piano Ttios vol.2"" (PDF). Retrieved 2014-02-25.
  4. 1 2 3 4 Anderson, Keith. "NAXOS, FRANCK String Quartet & Piano Quintet". Retrieved 2014-03-02.
  5. 1 2 3 4 5 6 7 8 Hirano, p. 430.
  6. 1 2 3 4 5 6 7 8 9 10 11 Nichols, Roger. "Hyperion Records, Fauré & Franck: String Quartets". Retrieved 2014-03-02.
  7. 1 2 Grimshaw, Jeremy. String Quartet in D major, M9 at AllMusic. Retrieved 2014-03-02.
  8. 1 2 Oki, p. 434.
  9. ↑ "CHANDOS, "Franck: Les Eolides, Symphonic Variations, Symphony"" (PDF). Retrieved 2014-03-02.
  10. ↑ Yashiro, p. 20.
  11. ↑ Oki, p. 433-434.
  12. ↑ "IMSLP, String Quartet (Franck, César)". Retrieved 2014-03-05.
  13. 1 2 3 4 Hirano, p. 431.
  14. 1 2 3 4 "Score, Franck "String Quartet"" (PDF). Hamelle. Retrieved 2014-03-02.
  15. ↑ Hirano.
  16. 1 2 3 Hirano, p. 432.
  17. ↑ Brilliant Classics, "Franck String Quartet & Piano Quintet", 93716
  18. 1 2 3 Hirano, p. 433.

Sources

  • Hirano, Akira (1980). 最新名曲解説全集 第12巻 室内楽曲II. 音楽之友社. 
  • Oki, Masaoki (1980). 最新名曲解説全集 第12巻 室内楽曲II. 音楽之友社. 
  • Yashiro, Akio (1981). 最新名曲解説全集 第16巻 独奏曲III. 音楽之友社. 
  • Booklet: CHANDOS, "Franck Piano Trios vol.2", CHAN9742
  • Booklet: CHANDOS, "Franck: Les Eolides, Symphonic Variations, Symphony", CHAN9875
  • Booklet: Hyperion Records, Fauré & Franck: String Quartets, CDA67664
  • Booklet: NAXOS, FRANCK: String Quartet in D Major / Piano Quintet in F Minor, 8.572009
  • Score: Franck "String Quartet", Hamelle, Paris, ca. 1892

External links

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