approach to Brahms. The Andante is really a Scherzo treated like an Andante in form. The third movement is cast in the rhythm of a German country dance; the theme is varied on its reappearance. The famous Cavatina has a remarkable beklemmt (fear) episode and a wonderful Bebung chord at the close. The lovely second subject of The Finale has been used by Borodin as a theme in the Finale of his Second Quartet. There is a very proper little Fugue in the development portion. The original Finale was published separately as Opus 133; it is a terrificly long-drawn Fugue and is regarded as almost incomprehensible by even the most ardent admirers of Beethoven's third style.
14th Quartet, Opus 131, in C sharp minor.
Published in 1827.
Adagio—Allegro molto vivace—Allegro moderato—Andante—Presto.
Although marked off in separate movements, this quartet is practically one long continuous piece. It opens with a mystic Fugue, organ-like in character and contains several fine enharmonic changes of key. At the Allegro molto vivace the tonality is lifted a semitone. This movement is light in character and simple in texture, almost Mozartian. An air with variations is approached
