Uploaded July 2026 | Updated September 2026, 2 weeks ago
Performed by the Rodin Quartett.
I - Allegro (𝅘𝅥 = 92): 0:00
II - Adagio (𝅘𝅥𝅮 = 69): 9:57
III - Scherzo. Allegro vivace (𝅗𝅥 = 84): 17:21
IV - Allegro (𝅘𝅥 = 132) - Un poco meno mosso - Tempo I - Un poco meno mosso - Tempo I - Poco meo - Più mosso: 22:21
Lachner's String Quartet No.2 was composed in 1843, being published in 1844. Unfortunately we don't know when and by whom it was premiered. Although largely forgotten nowadays, Lachner was a key composer in the transition between the late classical and romantic styles. He was a close friend of Franz Schubert, which became the greatest influence in Lachner's style. This results in a mixture of elements from the Viennese classical school with the romantic expression of Beethoven.
Lachner's cycle of seven string quartets (one unpublished and unrecorded) is a perfect example of this. They were much admired and often performed during his lifetime. Mendelssohn was fascinated by them and Schumann called Lachner the most talented composer in southern Germany. Writing twenty years later, Tchaikovsky noted that Lachner had to be placed near the pinnacle of fine composers. These quartets are sure to be appealing to both amateur and professional musicians, and would certainly be enjoyed by general audiences and connoisseurs alike.
The first movement is structured in sonata form. It begins with a joyful and melodic main theme in A major, presented by the whole quartet. A more rhythmic but elegant second theme in E major is then introduced by the first violin, very classical in style. The influence of Schubert is clearly perceptible in the shape of the themes. The exposition is then repeated, also an element commonly found in classical works. The ensuing development is heavily contrapuntal in nature, also employing sudden modulations, dynamic contrast and rhythmic variance to transform the material. The main themes are then recapitulated, before a rushing and vigorous coda ends the allegro with a virtuosic flourish.
The second movement is written in form of an arch. It opens with a broadly lyrical and cantabile main theme in D major, presented by violins and cello. It unfolds in an expressive and intimate manner, reaching a dramatic central climax of great passion. A melancholic transition then leads to the recapitulation of the main theme with more subdued dynamics. The adagio ends with a pianissisimo coda with the main theme fading away.
The third movement is a scherzo in ternary form. It begins with a rhythmic and animated main theme in A major, chromatic in nature and presented by the whole quartet. Two parts of it a repeated in a classical fashion. The trio section features a lyrical and cantabile theme in A major on viola, also divided in two halves that are repeated. The scherzo material is then repeated da capo, ending with a vigorous gesture.
The fourth movement is structured in sonata form. It opens with a rhythmic and march-like main theme in A major, which soon undergoes substantial harmonic and dynamic variations. It also exhibits a rolling motion of the sort Schubert employed in his last quartet, D.887. The second theme in E major is cantabile and lyrical in nature, presented by the whole quartet. A virtuosic transition leads to the development of the material, culminating in a grand climax of great virtuosity. The themes are then recapitulated, ending the quartet with a vigorous and resolute coda in A major.
Picture: "Fjord landscape" (1855) by the German painter Eduard Hildebrandt.
Musical analysis written by myself. Source: tinyurl.com/2y3z6n7h
To check the score: tinyurl.com/2bttfnwx
Performed by the Rodin Quartett.
I - Allegro (𝅘𝅥 = 92): 0:00
II - Adagio (𝅘𝅥𝅮 = 69): 9:57
III - Scherzo. Allegro vivace (𝅗𝅥 = 84): 17:21
IV - Allegro (𝅘𝅥 = 132) - Un poco meno mosso - Tempo I - Un poco meno mosso - Tempo I - Poco meo - Più mosso: 22:21
Lachner's String Quartet No.2 was composed in 1843, being published in 1844. Unfortunately we don't know when and by whom it was premiered. Although largely forgotten nowadays, Lachner was a key composer in the transition between the late classical and romantic styles. He was a close friend of Franz Schubert, which became the greatest influence in Lachner's style. This results in a mixture of elements from the Viennese classical school with the romantic expression of Beethoven.
Lachner's cycle of seven string quartets (one unpublished and unrecorded) is a perfect example of this. They were much admired and often performed during his lifetime. Mendelssohn was fascinated by them and Schumann called Lachner the most talented composer in southern Germany. Writing twenty years later, Tchaikovsky noted that Lachner had to be placed near the pinnacle of fine composers. These quartets are sure to be appealing to both amateur and professional musicians, and would certainly be enjoyed by general audiences and connoisseurs alike.
The first movement is structured in sonata form. It begins with a joyful and melodic main theme in A major, presented by the whole quartet. A more rhythmic but elegant second theme in E major is then introduced by the first violin, very classical in style. The influence of Schubert is clearly perceptible in the shape of the themes. The exposition is then repeated, also an element commonly found in classical works. The ensuing development is heavily contrapuntal in nature, also employing sudden modulations, dynamic contrast and rhythmic variance to transform the material. The main themes are then recapitulated, before a rushing and vigorous coda ends the allegro with a virtuosic flourish.
The second movement is written in form of an arch. It opens with a broadly lyrical and cantabile main theme in D major, presented by violins and cello. It unfolds in an expressive and intimate manner, reaching a dramatic central climax of great passion. A melancholic transition then leads to the recapitulation of the main theme with more subdued dynamics. The adagio ends with a pianissisimo coda with the main theme fading away.
The third movement is a scherzo in ternary form. It begins with a rhythmic and animated main theme in A major, chromatic in nature and presented by the whole quartet. Two parts of it a repeated in a classical fashion. The trio section features a lyrical and cantabile theme in A major on viola, also divided in two halves that are repeated. The scherzo material is then repeated da capo, ending with a vigorous gesture.
The fourth movement is structured in sonata form. It opens with a rhythmic and march-like main theme in A major, which soon undergoes substantial harmonic and dynamic variations. It also exhibits a rolling motion of the sort Schubert employed in his last quartet, D.887. The second theme in E major is cantabile and lyrical in nature, presented by the whole quartet. A virtuosic transition leads to the development of the material, culminating in a grand climax of great virtuosity. The themes are then recapitulated, ending the quartet with a vigorous and resolute coda in A major.
Picture: "Fjord landscape" (1855) by the German painter Eduard Hildebrandt.
Musical analysis written by myself. Source: tinyurl.com/2y3z6n7h
To check the score: tinyurl.com/2bttfnwx
