Beethoven - String Quartet No.13, Op.130 (Color-Coded Analysis)

I. Adagio ma non troppo (0:00)
II. Presto (D♭) (13:40)
III. Andante con moto ma non troppo (B♭ minor) (15:36)
IV. Alla danza tedesca. Allegro assai (G) (23:01)
V. Cavatina. Adagio molto espressivo (E♭) (26:47)
VI. Finale. Allegro (33:50)

3/9 String Quartet Op.130 (Color Analysis and Rock Arr.)
http://lvbandmore.blogspot.com/2011/03/39-string-quartet-op130-color-analysis...
Guarneri Quartet

For more videos of this type see:
Color-Coded Analysis of Beethoven's Music (INDEX):
http://lvbandmore.blogspot.com/p/simple-visual-breakdowns-of-works.html

Introduction to Sonata Form:
http://lvbandmore.blogspot.com/p/about-sonata-form-and-analysis.html

My Analysis Cheat Sheet:
-SONATA FORM: Most common form, almost always in the 1st movement and often last movement of a work. The basic sequence is Intro, Exposition, Development, Recapitulation and Coda.
-EXPOSITION: Main theme(s) are presented, usually in the home key and then a modulated key
-THEME / THEME GROUP: musical "paragraph". These can be broken down into 1 or more "tunes". These are grouped according to key and end on cadences. The 1st Theme Group is in the home key. The 2nd Theme Group is in the dominant or other key.
-CLOSING/CADENCE SECTION: a theme group which closes the Expo or Recap (it follows the 2nd theme) and revives Theme 1 to provide closure.
-MODULATING BRIDGE/TRANSITION: material to get from 1 key/theme group to another, often w sequencing.
-DEVELOPMENT: free-form "working out"/"fantasia" section where earlier themes are subjected to variations and atomizations. Possibly a new theme is introduced ("Eroica").
-RECAPITULATION: Repeat of the Expo, except that this section remains in the same key throughout and there can be theme variations from the initial Expo versions of themes.
-CODA: Follows the Recap, kind of a second development designed to finish off the work.
-SEQUENCING: repeating a phrase on different starting notes (keys)
-TERNARY FORM: 3-part form in A-B-A, usually a Scherzo or Minuet
-SCHERZO/MINUET: 1st pt. of a 3-pt. Scherzo form, usually AA.BA'.BA' in 3/4 time. Lively.
-TRIO: Middle section of a Scherzo movement, slower, broader than the Scherzo section
-RONDO: Similar to Sonata form except that the Development is replaced by a new section and there is less transition material. A principal theme (A) alternates with contrasting themes (BCD...). (Ex.ABACABA.)
-FUGUE: form in which a subject(s) undergoes canonical permutations
-VARIATION: repeat of a theme with variation
-CADENZA: unaccompanied instrumental solo
-BINARY FORM: Structure in AB. 2-Part Song form.
(Disclaimer: I do not have a music degree, all of the above is purely from memory and observation)

Quartet No. 13 in B flat, Op. 130
I. Adagio ma non troppo/Allegro
--Exposition:
Introduction, part I (BROWN)
Introduction: part II
1st Theme, part I (MAROON)
1st Theme, part I (return)
1st Theme, part II
2nd Theme (DARK BLUE)
2nd Theme: development
3rd Theme (OLIVE)
--Exposition (Repeat):
Introduction, part I (LIGHT BROWN)
Introduction: part II
1st Theme, part I (LIGHT MAROON)
1st Theme, part I (return)
1st Theme, part II
2nd Theme (LIGHT BLUE)
2nd Theme: development
3rd Theme (LIGHT OLIVE)
--Development:
First part: based on Introduction (VIOLET)
Second part: based on 1st Theme
--Recapitulation:
1st Theme, part I (MAROON)
1st Theme, part II (variation)
2nd Theme (variation) (DARK BLUE)
2nd Theme (return)
3rd Theme (return)
Coda (VIOLET)

II. Presto (starting from 13:40)
A (GREEN)
B (BLUE)
Transition (PURPLE)
A (Return) (GREEN)

III. Andante con moto ma non troppo (starting from 15:36)
--Exposition
Introduction (BROWN)
1st Theme (MAROON)
Transition (OLIVE)
2nd Theme (BLUE)
1st Theme (Variation) (MAROON)
3rd Theme (VIOLET)
--Exposition Repeat
Introduction (LIGHT BROWN)
1st Theme (LIGHT MAROON)
Transition (LIGHT OLIVE)
2nd Theme (LIGHT BLUE)
1st Theme (Variation) (LIGHT MAROON)
3rd Theme (LIGHT VIOLET)
Coda (OLIVE)
3rd Theme (VIOLET)
3rd Theme: Development

IV. Alla danza tedesca: Allegro assai (starting from 23:01)
A:
1st Theme, part I (BLUE)
1st Theme, part II (LIGHT BLUE)
B:
1st Theme (GREEN)
A:
1st Theme, part I (BLUE)
1st Theme, parts I and II (variation) (LIGHT BLUE)
1st Theme, part I (BLUE)
1st Theme, part I (fragmented variation) (LIGHT BLUE)

V. Cavatina: Adagio molto espressivo (starting from 26:47)
1st Theme, part I (GREEN)
1st Theme, part II
1st Theme (return)
2nd Theme (BLUE)
2nd Theme (return)
3rd Theme (VIOLET)
1st Theme, part I (return) (GREEN)
1st Theme, part II (return)

VI. Finale, Allegro (starting from 33:50)
--Exposition
1st Theme (MAROON)
2nd Theme (BLUE)
3rd Theme (GREEN)
--Exposition Repeat
1st Theme (repeat) (MAROON)
2nd Theme (repeat) (BLUE)
3rd Theme (repeat) (GREEN)
Development (PURPLE)
--Recapitulation
1st Theme (return) (LIGHT MAROON)
2nd Theme (return) (LIGHT BLUE)
3rd Theme (return) (LIGHT GREEN)
Development (return) (LIGHT PURPLE)
Coda (BROWN)

(form analysis from Alan Rich's "Play by Play")

Category:

Education

Tags:

• Beethoven
• string
• quartet
• opus
• 130
• color
• analysis
• guarneri
• alan
• rich
• Color-Coded Analysis

[giuliaaccogiulia]

The olive stuff for sure is not a theme..how can u call it so??? is just the closing section of the 2theme...I dont think this analysis can be reliable...

[lvbandmore]

@giuliaaccogiulia This analysis is from Alan Rich's "Play by Play" book. Actually I disagree with some of his choices also, but I didn't bother to correct it. Someday I'll do my own analysis and redo all these videos...

[TrevRockOne]

Booooooo, I want the Grosse Fuge.

[lvbandmore]

@TrevRockOne I already did the GF - TWICE!

Google search: daily beethoven grosse fugue analysis

[TrevRockOne]

@lvbandmore I want it as part of the String Quartet No. 13, as it is meant to be. It's been out of fashion to have that alternate ending as part of SQ 13 for a century now. 1820's audiences couldn't take the Grosse Fuge: they were pussies, but we can!

Really I just want a full recording of the original SQ 13, sans alternate ending, because there isn't one online yet. Ya know, for sharing.

[lvbandmore]

@TrevRockOne Oh yeah. I hear you. Personally I always play 133 as part of 130, and then I think of the new finale as a kind of "bonus track". Ah well..maybe next time.

[TrevRockOne]

@lvbandmore Haha, yeah, same here. The alternate finale is good and all, but the op. 130 ending with the Grosse Fuge is just tectonic in scale.

[lvbandmore]

@CuriosityRoads I'll get around to them eventually, day job obligations are really getting in the way haha

[CuriosityRoads]

Any plans on analysing any of the other late quartets in full, or perhaps the Razumovsky's? These videos have really helped me appreciate the music more.

[SirSebastianWang]

I had never heard the first or third movements before, and now I realize how much I love them. Thank you so much for this video.