Uploaded July 2026 | Updated September 2026, 2 weeks ago
Performed by the Rodin Quartett.
I - Allegretto (𝅘𝅥𝅮 = 132): 0:00
II - Menuetto. Allegro assai (𝅗𝅥. = 76): 8:55
III - Largo (𝅘𝅥𝅮 = 108) - Più animato: 15:43
IV - Allegro vivace (𝅗𝅥 = 104) - Più mosso: 23:35
Lachner's String Quartet No.5 was published in 1875, presumably being composed much earlier circa 1840-50 like most of his quartets. 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Lachner's cycle of seven string quartets (one unpublished and unrecorded) is a perfect example of this.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 graceful and elegant main theme in G major, presented by the whole quartet. A more rhythmic second theme in D major is also introduced, full of a classical poise. Another element from the classical era is the ensuing exposition repeat. The development is heavily contrapuntal in nature, with the head of the main theme dominating throughout. A fortissimo climax is reached with the beginning of the material's varied recapitulation. The allegretto concludes with a determined G major coda.
The second movement is a minuet in rondo form (A-B-A-C-A-Coda). The minuet, a musical form from the classical era, was already out of fashion, and Lachner's interpretation in this quartet is closer to a romantic scherzo in spirit. It opens with a rhythmic main theme in G minor, divided in two parts of which the first is repeated. The first trio features a dance-like second theme in E-flat major, presented by first violin and divided in two repeating parts. The minuet is then repeated, followed by a second trio with a contemplative third theme in G major, offering contrast. A final repeat of the minuet da capo ends with a resolute G minor.
The third movement is written in ternary form. It begins with an expressive and melancholic main theme in E minor, with sudden and sharp dissonances. It is contrasted by a more lyrical but passionate second theme in G major. The central section features a rhythmic and wilful third theme in E-flat major, presented by first violin and reaching a short-lived peak. The main material is then recapitulated, before a serene coda in G major ends the largo.
The fourth movement is written in sonata form. It opens with a cheerful and dance-like main theme in G major, introduced by first violin. A more melodic second theme in D major is also presented by first violin, still sustained by a lively rhythm underneath. Like in the first movement, the exposition is repeated. The ensuing development mainly focuses on the main theme, which is transformed in terms of harmony and dynamics. The material is then recapitulated in a varied way. A determined coda ends the quartet with a resolute G major chord.
Picture: "Banks of the Tiber near Acqua Acetosa" (1835) by the German painter Ludwig Richter.
Musical analysis written by myself.
To check the score: tinyurl.com/292m852r
Performed by the Rodin Quartett.
I - Allegretto (𝅘𝅥𝅮 = 132): 0:00
II - Menuetto. Allegro assai (𝅗𝅥. = 76): 8:55
III - Largo (𝅘𝅥𝅮 = 108) - Più animato: 15:43
IV - Allegro vivace (𝅗𝅥 = 104) - Più mosso: 23:35
Lachner's String Quartet No.5 was published in 1875, presumably being composed much earlier circa 1840-50 like most of his quartets. 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 graceful and elegant main theme in G major, presented by the whole quartet. A more rhythmic second theme in D major is also introduced, full of a classical poise. Another element from the classical era is the ensuing exposition repeat. The development is heavily contrapuntal in nature, with the head of the main theme dominating throughout. A fortissimo climax is reached with the beginning of the material's varied recapitulation. The allegretto concludes with a determined G major coda.
The second movement is a minuet in rondo form (A-B-A-C-A-Coda). The minuet, a musical form from the classical era, was already out of fashion, and Lachner's interpretation in this quartet is closer to a romantic scherzo in spirit. It opens with a rhythmic main theme in G minor, divided in two parts of which the first is repeated. The first trio features a dance-like second theme in E-flat major, presented by first violin and divided in two repeating parts. The minuet is then repeated, followed by a second trio with a contemplative third theme in G major, offering contrast. A final repeat of the minuet da capo ends with a resolute G minor.
The third movement is written in ternary form. It begins with an expressive and melancholic main theme in E minor, with sudden and sharp dissonances. It is contrasted by a more lyrical but passionate second theme in G major. The central section features a rhythmic and wilful third theme in E-flat major, presented by first violin and reaching a short-lived peak. The main material is then recapitulated, before a serene coda in G major ends the largo.
The fourth movement is written in sonata form. It opens with a cheerful and dance-like main theme in G major, introduced by first violin. A more melodic second theme in D major is also presented by first violin, still sustained by a lively rhythm underneath. Like in the first movement, the exposition is repeated. The ensuing development mainly focuses on the main theme, which is transformed in terms of harmony and dynamics. The material is then recapitulated in a varied way. A determined coda ends the quartet with a resolute G major chord.
Picture: "Banks of the Tiber near Acqua Acetosa" (1835) by the German painter Ludwig Richter.
Musical analysis written by myself.
To check the score: tinyurl.com/292m852r
