Uploaded July 2026 | Updated September 2026, 2 weeks ago
Performed by the Rodin Quartett.
I - Allegretto (đť…ź. = 80) - Allegro assai : 0:00
II - Menuetto. Allegretto (đť…ź = 126): 11:23
III - Andante (đť… = 152): 15:25
IV - Rondo. Allegro vivace (đť…ź = 88) - Allegro assai (đť…ź = 160): 23:33
Lachner's String Quartet No.3 was composed in 1843 right after the previous one. 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Lachner's cycle of seven string quartets (one unpublished and unrecorded) is a perfect example of this.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 melodic and noble main theme in E-flat major, followed by a rhythmic and agitated second theme in B-flat minor. The influence of Schubert is clearly perceptible in the shape of the themes. The music reaches a dramatic climax with a duo between the two violins in their upper registers. The exposition is then repeated, also an element commonly found in classical works. The ensuing development is heavily contrapuntal and passionate in nature, employing sudden expressive modulations, dynamic contrast and rhythmic variance to transform the material. A melancholic transition leads to the recapitulation of the themes, followed by a contrapuntal passage. A resolute coda then ends the allegretto.
The second movement is a minuet in ternary form. The minuet, another call to the classical era, was growing out of fashion and largely replaced by the scherzo. It opens with an elegant and graceful main theme in E-flat major, consisting of two parts that are repeated. The trio section contains a quicker and rhythmic second theme that is also in E-flat major, divided in two parts that are repeated. The minuet is then repeated da capo, ending the allegretto with a gradual fadeout coda.
The third movement is written in sonata form. It begins with a lyrical and cantabile main theme in A-flat major, presented by first violin. Then a stormy and passionate second theme in F minor is introduced, reaching a dramatic climax. Follows a contrapuntal development of the material, reaching an expressive climax with a series of modulations to G-sharp minor, A minor, C major, A minor again and then back to A-flat major. The return to the home key launches a varied recapitulation of the material, reaching another climax. A reflective coda ends the andante.
The fourth movement is structured as a sonata-rondo. It opens with a rhythmic and lively main theme in E-flat major, presented by first violin over tremolo pedal notes. A more melodic second theme serves as a contrasting episode, emplying canonic and contrapuntal writing. Then a repeat starts from the beginning, before the main theme becoes the subject of a development that transforms the material in a similar fashion as in the first movement, reaching a dramatic climax. A subdued transition leads to the recapitulation of the main theme, followed by a second development episode. The second theme follows, with an accelerando leading to a lively coda ends the quartet with high spirits.
Picture: "The ruins of Eldena in the Giant Mountains" (1830-4) by the German painter Caspar David Friedrich.
Musical analysis written by myself. Source: tinyurl.com/2yfngazo
To check the score: tinyurl.com/29vualhl
Performed by the Rodin Quartett.
I - Allegretto (đť…ź. = 80) - Allegro assai : 0:00
II - Menuetto. Allegretto (đť…ź = 126): 11:23
III - Andante (đť… = 152): 15:25
IV - Rondo. Allegro vivace (đť…ź = 88) - Allegro assai (đť…ź = 160): 23:33
Lachner's String Quartet No.3 was composed in 1843 right after the previous one. 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 melodic and noble main theme in E-flat major, followed by a rhythmic and agitated second theme in B-flat minor. The influence of Schubert is clearly perceptible in the shape of the themes. The music reaches a dramatic climax with a duo between the two violins in their upper registers. The exposition is then repeated, also an element commonly found in classical works. The ensuing development is heavily contrapuntal and passionate in nature, employing sudden expressive modulations, dynamic contrast and rhythmic variance to transform the material. A melancholic transition leads to the recapitulation of the themes, followed by a contrapuntal passage. A resolute coda then ends the allegretto.
The second movement is a minuet in ternary form. The minuet, another call to the classical era, was growing out of fashion and largely replaced by the scherzo. It opens with an elegant and graceful main theme in E-flat major, consisting of two parts that are repeated. The trio section contains a quicker and rhythmic second theme that is also in E-flat major, divided in two parts that are repeated. The minuet is then repeated da capo, ending the allegretto with a gradual fadeout coda.
The third movement is written in sonata form. It begins with a lyrical and cantabile main theme in A-flat major, presented by first violin. Then a stormy and passionate second theme in F minor is introduced, reaching a dramatic climax. Follows a contrapuntal development of the material, reaching an expressive climax with a series of modulations to G-sharp minor, A minor, C major, A minor again and then back to A-flat major. The return to the home key launches a varied recapitulation of the material, reaching another climax. A reflective coda ends the andante.
The fourth movement is structured as a sonata-rondo. It opens with a rhythmic and lively main theme in E-flat major, presented by first violin over tremolo pedal notes. A more melodic second theme serves as a contrasting episode, emplying canonic and contrapuntal writing. Then a repeat starts from the beginning, before the main theme becoes the subject of a development that transforms the material in a similar fashion as in the first movement, reaching a dramatic climax. A subdued transition leads to the recapitulation of the main theme, followed by a second development episode. The second theme follows, with an accelerando leading to a lively coda ends the quartet with high spirits.
Picture: "The ruins of Eldena in the Giant Mountains" (1830-4) by the German painter Caspar David Friedrich.
Musical analysis written by myself. Source: tinyurl.com/2yfngazo
To check the score: tinyurl.com/29vualhl
