Johannes Brahms - 현악 5중주 [String Quintet] 전곡 - 1, 2번

 

Johannes Brahms

 

(1883~1897)

 

현악 5중주 [String Quintet]전곡

 

• String Quintet No. 1 in F major, Op. 88

• Johannes Brahms' String Quintet No. 1 in F major, op. 88, was composed in 1882 in the spa town of Bad Ischl, Upper Austria, and published by the firm of Fritz Simrock.^[1] It was first performed at a chamber music evening in Frankfurt-on-Main on 29 December 1882.

  It is a "viola quintet" in that it is scored for string quartet with a second viola. Brahms composed the work in three movements:

  1. Allegro non troppo ma con brio: in sonata form. The first subject group is in F major, while the second is in A major, the first of the "pervasive mediant relationships" in this work.^[1]
  2. Grave ed appassionato – Allegretto vivace – Tempo I – Presto – Tempo I: in double variation form. The first theme is based on a sarabande Brahms wrote in 1854, while the second theme is based on a gavotte that he wrote in the same year. The movement starts in C-sharp major, and ends in A major, another mediant relationship.^[1]
  3. Allegro energico – Presto: in a fusion of sonata and contrapuntal forms. The final key of the previous movement, A major, and the key of this movement, F major, represent another mediant relationship.^[1]

  Brahms described the quintet to his friend Clara Schumann as one of [his] finest works" and told

• Simrock, "You have never before had such a beautiful work from me."^[1]

•  

• String Quintet No. 2 in G major, Op. 111

• Johannes Brahms' String Quintet No. 2 in G major, Opus 111 was published in 1890. It is known as the Prater Quintet. Brahms intended it to be his last piece of music.

  Like Brahms' earlier string quintet, Opus 88, it is a viola quintet, scored for two violins, two violas and cello. The work has four movements.

  The first movement is marked Allegro non troppo, ma con brio, and is in 9/8. Its opening is dominated by a cello solo in G major. The middle section is in G minor, though it passes through numerous keys before returning to G major by the end.

  The second movement is marked Adagio, and is in 2/4. It starts with a viola solo accompanied by cello pizzicato. Then a ghostly triplet motif is presented by the viola. Both of these thematic materials are played by different instruments and developed, with one section combining the triplet and pizzicato motifs with the opening theme. There is a stormy middle section reminiscent of Schubert's cello quintet. The entire movement has a key signature of D minor, but it ends on a D major chord.

  The third movement, marked Un poco Allegretto, is in 3/4 time and is loosely based on a minuet and trio form, finishing with a short coda the uses the trio's material instead of the minuet's. The "minuet" section, which is in g minor, is followed by a "trio" section in g major, followed by another "minuet" section (written out) and finally the coda section in the key of the trio.

  The fourth movement, marked Vivace, ma non troppo presto, is in 2/4 and has a key signature of 1 sharp throughout. It displays influences of Hungarian music. The opening theme in viola 1 is in b minor, and is copied by the first violin nine bars later. However, a new, upbeat, dance-like theme in g major is presented shortly after in the 1st violin. Many different thematic materials are presented in this movement's exposition, many of which are developed in the intensely fugal development section. After a recap of the original thematic material, there is a large unison scale played forte by all of the instruments right before the stringendo coda. The movement (and the piece) end in G major. 

• A visit to Italy has had a stimulating effect on many a composer. Johannes Brahms (1833-- 1897) was no exception when, on returning home in 1890, he set to work on his second String Quintet,

  Op. 111. In the finale, particularly, he let himself be carried away in cheerful Hungarian mood.
  
  His contemporaries failed to recognise the Mediterranean open-mindedness and extroversion of the melodic work, and one of Brahms's champions, Eduard Hanslick, even detected signs of introspection. "Brahms appears increasingly to withdraw into himself, seems more at ease, with ever-greater assurance in the vigorous ｅxpression of simple feelings. This work is endowed with intense emotional life, without effort, without excess, without artifice!"