Imagine you're hearing a lecture on classical music. "String quartets," says the lecturer, "represent the highest pinnacle of musical art. Only connoisseurs can hope to understand them." What should you do?
Walk out, I'd suggest, because that's how people talked a hundred years ago. There's nothing stuffy about string quartets. In fact, the two words that might best describe them are "intimate" and "fascinating." 		 
  Why intimate? Because they're not played by an 80-piece orchestra, or even by a 15-member brass brand. Just four people -- playing two violins, a viola, and a cello -- sit on the stage, communing with themselves and the music. Back in the 18th century, the age of Mozart and Haydn, string quartets weren't even performed for an audience. They were played at home, for entertainment. Entire families used to play string instruments in those days, and it's easy to imagine an 18th century housewife calling out to her husband as he left for work: "On your way back, Hermann, buy a new string quartet for us and the girls."
So if Beethoven's symphonies could be compared to epic novels, his string quartets are much quieter; they're much more like letters home. But why should we call them "fascinating"? Because each instrument has much more to do than an instrument in an orchestra. Think of your standard 80-piece symphony -- strings are the backbone, but they don't tell the story alone. Trumpets and timpani offer drama; plaintive oboes supply a touch of pathos.
Not so with a string quartet. Four instruments take care of everything. So none of the instruments ever stands still. The first violin might play the melody. But the second violin and viola turn the accompaniment into a dance with a life of its own. They sing, jump, and simmer; they might even offer comments. The cello, meanwhile, plays a bass line with substance enough to be a melody itself. 		quartet sketch
  What kind of people play string quartets? A rock band, basically. And yes, that's a joke, but there are similarities. String quartets, first of all, are long-term propositions, just like the most successful bands. The same four players continue for years.
And just as rock bands come with more or less standard personalities -- the flamboyant lead guitarist, the party guy on drums -- so do string quartets. The first violin is the decisive leader. The cellist, too, can be forceful, which makes sense: The cello sings with a majestic tone, and, by playing the bass line, carries the whole ensemble on its shoulders. What about the viola and second violin? They burrow into the inside of the music; they're much quieter. The second violinist, traditionally, would be someone who rarely speaks. The violist, who plays an instrument with a dusky, muffled tone, is equally silent, but much more sensitive.
And yet the four people get along. Or maybe they don't, but still they make music. Sometimes you'll find a quartet whose members wouldn't tolerate each other, if they weren't transformed by the magical chemistry of Schubert and Debussy. Funny, isn't it? Strip away that old fuddy image of string quartets, and you're left with drama -- human and passionate. 		 

 

Eight Great String Quartets


Haydn, String Quartet, Op. 64, No. 5, "The Lark"

It's true -- the opening theme sings and soars like a bird, so they called this string quartet "the lark." Which might sound silly to us, but this was the 18th century, and in any case there's nothing silly about Haydn's score. It's as hearty and down-to-earth as great music ever gets.

Mozart, String Quartet No. 19, "Dissonant"

Dissonant? Scary. But wait -- this is Mozart, so how dissonant could it be? Yes, there's a tense introduction, which sounds so dramatic that it gave this string quartet its name. But after that, everything is warmth and bright light.

Beethoven, String Quartet, Op. 18, No. 3

It's amazing how untroubled this stormy genius could sound in his youth. Listen closely, though, and you'll feel the enormous strength he held in reserve.

Beethoven, String Quartet, Op. 59, No. 2

There's a reason Beethoven appears on this list three times. His quartets are the most impressive ever written. This one has everything -- stern power, brimming beauty, and even a sparkling Russian folk song, included as a tribute to the Russian count who commissioned the work.

Beethoven, String Quartet, Op. 132

As heard in the movie about Beethoven, Immortal Beloved. Lying exhausted and sick, the great man wrote this wounded score, which alternates between despair and radiant hope.

Dvorak, String Quartet No.12, "American"

Dvorak wrote this gem on a visit to the United States, and gave it the same folksong sound as his New World Symphony. It's music with direct, eager appeal. If you don't like it…oh, you're probably Oscar the Grouch.

Debussy, String Quartet

The French are sophisticated, everyone knows. But why do people think they're unemotional? This music shivers with intimate passion.

Ravel, String Quartet

This is as elegant as it gets -- refined, polished music, with not a single note out of place.


…and two great quintets -- quartets plus!


Mozart, String Quintet in G Minor

Mozart wrote this masterwork for five players -- a normal string quartet, plus a second viola. The viola was his favorite instrument; a double dose of it makes this music sound smoky and sensitive.

Schubert, String Quintet in C Major

Two cellos this time, the perfect dark blend for a piece that wavers between sweetness and the blackest night.

copyright © 1995 by Greg Sandow