Uploaded July 2026 | Updated September 2026, 2 weeks ago
Performed by the Rodin Quartett.
I - Adagio (𝅘𝅥 = 60) - Allegro non troppo: 0:00
II - Andante quasi adagio (𝅘𝅥 = 60) - Più mosso (𝅘𝅥 = 88) - Tempo I: 11:06
III - Scherzo. Allegro assai (𝅗𝅥. = 92) - Allegretto: 17:45
IV - Finale. Allegro agitato (𝅗𝅥 = 116): 21:59
Lachner's String Quartet No.4 was composed in 1849, not being published until 1866. 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Lachner's cycle of seven string quartets (one unpublished and unrecorded) is a perfect example of this.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 monothematic in form. It begins with a melancholic adagio introduction, which leads to the main allegro. An expressive and dramatic main theme in D minor is introduced by the viola, passing onto cello and then first violin. No contrasting themes or new ideas are presented. After a passionate climax, the exposition is repeated, an element expected from works of the classical era. The ensuing development is turbulent and agitated, reaching an intense but short-lived climax. The main theme is then recapitulated in a varied way, with a bold D major modulation before returning to D minor. A dramatic coda ends the allegro with a sudden and gloomy pianississimo.
The second movement is structured in ternary form. It opens with a deeply expressive and lyrical main theme in B-flat major, presented by the whole quartet. The central section then brings contrast with an agitated and passionate second theme in G minor, the whole section being a long and substantial climax in itself. A melancholic transition led by first violin then leads to the recapitulation of the main theme, which grows into another expressive climax. The andante then ends with a serene coda.
The third movement is a scherzo in ternary form. It begins with a rhythmic and vigorous main theme in D minor, presented by violins over viola and cello. The material is divided in two repeating parts, something that was commonly done with minuets of the classical era, less so with the scherzo. The trio section features a folkish and dance-like second theme in D major, also introduced by violins. The scherzo is then repeated da capo, ending with a resolute coda.
The fourth movement is written in sonata form. It begins with a lively and moody main theme in D minor, introduced by first violins. This is soon contrasted by a melodic and graceful second theme in F major. As in the first movement, the exposition is repeated. The following development is heavily contrapuntal in nature, transforming the material through a flowing yet expressive fugato. The material is then recapitulated, leading to a passionate climax. A brief modulation to D major leads us to a forceful and dramatic coda.
Picture: "Blind woman in the field" (1850) by the German painter Bruno Piglhein.
Musical analysis written by myself. Source: tinyurl.com/2y5m9fk3
To check the score: tinyurl.com/24rwt7ua
Performed by the Rodin Quartett.
I - Adagio (𝅘𝅥 = 60) - Allegro non troppo: 0:00
II - Andante quasi adagio (𝅘𝅥 = 60) - Più mosso (𝅘𝅥 = 88) - Tempo I: 11:06
III - Scherzo. Allegro assai (𝅗𝅥. = 92) - Allegretto: 17:45
IV - Finale. Allegro agitato (𝅗𝅥 = 116): 21:59
Lachner's String Quartet No.4 was composed in 1849, not being published until 1866. 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 monothematic in form. It begins with a melancholic adagio introduction, which leads to the main allegro. An expressive and dramatic main theme in D minor is introduced by the viola, passing onto cello and then first violin. No contrasting themes or new ideas are presented. After a passionate climax, the exposition is repeated, an element expected from works of the classical era. The ensuing development is turbulent and agitated, reaching an intense but short-lived climax. The main theme is then recapitulated in a varied way, with a bold D major modulation before returning to D minor. A dramatic coda ends the allegro with a sudden and gloomy pianississimo.
The second movement is structured in ternary form. It opens with a deeply expressive and lyrical main theme in B-flat major, presented by the whole quartet. The central section then brings contrast with an agitated and passionate second theme in G minor, the whole section being a long and substantial climax in itself. A melancholic transition led by first violin then leads to the recapitulation of the main theme, which grows into another expressive climax. The andante then ends with a serene coda.
The third movement is a scherzo in ternary form. It begins with a rhythmic and vigorous main theme in D minor, presented by violins over viola and cello. The material is divided in two repeating parts, something that was commonly done with minuets of the classical era, less so with the scherzo. The trio section features a folkish and dance-like second theme in D major, also introduced by violins. The scherzo is then repeated da capo, ending with a resolute coda.
The fourth movement is written in sonata form. It begins with a lively and moody main theme in D minor, introduced by first violins. This is soon contrasted by a melodic and graceful second theme in F major. As in the first movement, the exposition is repeated. The following development is heavily contrapuntal in nature, transforming the material through a flowing yet expressive fugato. The material is then recapitulated, leading to a passionate climax. A brief modulation to D major leads us to a forceful and dramatic coda.
Picture: "Blind woman in the field" (1850) by the German painter Bruno Piglhein.
Musical analysis written by myself. Source: tinyurl.com/2y5m9fk3
To check the score: tinyurl.com/24rwt7ua
