Mannheimer Strechquartett: Robert Volkmann String Quartets Nos 1 and 5

String Quartet No.1 in A-minor, Op.9 (1848)

Mov.I: Largo - Allegro non troppo 00:00 - 03:05
Mov.II: Adagio molto 10:58
Mov.III: Presto 25:38
Mov.IV: Allegro impetuoso 30:31

Quartet: Mannheimer Strechquartett

String Quartet No.1 was composed in 1847-8 during his first sojourn in Pest, but not published until he moved to Vienna in 1854. Regarded as modern-sounding at the time, today it does not sound so to us, but one should keep in mind that it was published when Brahms was but 21 and Schumann still alive.

The lengthy, slow introduction of the Largo-Allegro non troppo builds an incredible amount of suspense and is reminescent of late Beethoven structurally with its long silences. After it fades away ppp, without warning, the Allegro literally explodes, moving forward with tremendous energy and drama.

The center of gravity in this quartet is clearly in the mammoth Adagio molto. The first subject, which is of great simplicity, is made to sound, through the use of triplets, like a slow-motion minuet. But what develops is of considerable complexity, not only rhythmically but thematically as well.

A captivating Presto follows and is a headlong gallop which only stops for breath in a somewhat slower and more lyrical middle section. In the finale, Allegro impetuoso, one hears echoes of Beethoven, especially in the opening sustained notes, but the writing is pure Volkmann.



String Quartet No.5 in F-minor, Op.37 (1859)

Mov.I: Allegro 00:00
Mov.II: Adagio 05:30
Mov.III: Allegro energico - Andantino - Allegro molto - Presto - Prestissimo 14:14

Quartet: Mannheimer Strechquartett

Most critics regard Volkmann's 5th String Quartet as the most striking, unique and powerful of the six he wrote. It dates from 1859, a year after he composed No.4. Formally, it is only in three movements which is in itself, for the time, quite unusual.

The opening Allegro literally explodes with power and rage. The part-writing is masterly and creates a full-bodied, rich sound, verging on the orchestral.

A peaceful Adagio in D flat comes next. In the final movement, initially marked Allegro energico, Volkmann creates two, if not three movements. At first, the music veers off in the fashion of a scherzo, a driving, powerful movement in ¾ time of the sort one finds in Beethoven's middle period.

The Allegro literally runs itself down into a very beautiful contrasting Andantino which cleverly makes use of the first theme from the Allegro while, at the same time, changing it into something totally different in mood. This, in effect, is the trio to the de facto scherzo. It, in turn, is superceded by an Allegro molto, which becomes faster and faster (presto and prestissimo) as it heads toward the coda which leaves both listener and player alike out of breath.