and difficult cadenza for the 1st Violin over a dominant pedal. The ending of the quartet contains some very full effects and is almost orchestral in style.
8th Quartet, Opus 59, No. 2, in E minor.
Allegro—Adagio—Allegretto—Finale.
The second quartet of the Rasumovsky set is even more elaborate than the first. The opening movement, though containing some dark, passionate moods akin to the Appassionata Sonata, is nevertheless happy and delicate in tone. Its technical requirements are great. opens with two strong chords, then a silent bar, which the composer fills in curiously enough in the recapitulation. The lovely long-drawn Adagio in E major is marked by Beethoven con molto di sentimento (with great feeling). Here again he is in his new territory. It is as though he said to the players, "Wake up! this is an entirely new kind of music." The playful Allegretto introduces another Slav folk-song, which can be found in Rimsky-Korsakoff's collection (No. 45). It is sacred and majestic in tone, a song of glory to the Creator. It forms the major trio portion, which is carefully welded on to the return of the opening minor movement. The Finale represents Beethoven's very happiest mood. It starts clean
