Uploaded July 2026 | Updated September 2026, 2 weeks ago
Performed by the Rodin Quartett.
I - Allegro moderato (𝅘𝅥 = 112): 0:00
II - Adagio non troppo (𝅘𝅥𝅮 = 96): 8:13
III - Scherzo. Allegro vivace (𝅗𝅥. = 66) - Moderato (𝅘𝅥 =126) - Scherzo tempo I: 15:12
IV - Finale. Allegretto (𝅘𝅥. = 80) - Presto: 20:20
Lachner's String Quartet No.6 was composed between 1848-9. 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Lachner's cycle of seven string quartets (one unpublished and unrecorded) is a perfect example of this.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 melancholic and expressive main theme in E minor, presented by first violin. This material is contrasted by a cantabile second theme in a major key, presented by violins and viola. We find no exposition repeat unlike Lachner's previous quartets, which signals the prevalence of romanticism over the classical style. The ensuing development transforms the themes with sudden and expressive modulations, but without reaching a grand climax. The material is then recapitulated. A dramatic coda in E minor ends the allegro.
The second movement is written in ternary form. It opens with a widely lyrical and cantabile main theme in E major, unfolding in a series of dialogues between instruments such as first violin and cello. The central section is a variation of the main material with added dynamic contrast, increased chromaticism and virtuosity in the instrumental parts. After a passionate climax, the main theme is recapitulated before ending the adagio with a gentle E major coda.
The third movement is a scherzo in ternary form. It begins with a rhythmic and animated main theme in B minor, reminiscent of a rustic dance tune. After a B major modulation of the material, the contrasting trio section features a two-part, dance-like second theme in E major. Both parts are repeated before the scherzo material returns. A resolute coda ends with the key of B major.
The fourth movement is structured in sonata form. It opens with a lively and elegant main theme in E minor, presented by first violin and cello over tremoli from viola and second violin. A hardly contrasting second theme is also introduced over cello pizzicati, leading to a dramatic climax. The exposition is then repeated. The ensuing development starts with a dialogue between first violin and cello, before the material is transformed in a substantial fugato passage. The themes are then recapitulated, leading to a dramatic coda that ends the quartet with Beethovenian E minor chords.
Picture: "Epidaurus" (1849) by the German painter Carl Rottmann.
Musical analysis written by myself. Source: tinyurl.com/2y3xx8o7
To check the score: tinyurl.com/2243asq2
Performed by the Rodin Quartett.
I - Allegro moderato (𝅘𝅥 = 112): 0:00
II - Adagio non troppo (𝅘𝅥𝅮 = 96): 8:13
III - Scherzo. Allegro vivace (𝅗𝅥. = 66) - Moderato (𝅘𝅥 =126) - Scherzo tempo I: 15:12
IV - Finale. Allegretto (𝅘𝅥. = 80) - Presto: 20:20
Lachner's String Quartet No.6 was composed between 1848-9. 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 melancholic and expressive main theme in E minor, presented by first violin. This material is contrasted by a cantabile second theme in a major key, presented by violins and viola. We find no exposition repeat unlike Lachner's previous quartets, which signals the prevalence of romanticism over the classical style. The ensuing development transforms the themes with sudden and expressive modulations, but without reaching a grand climax. The material is then recapitulated. A dramatic coda in E minor ends the allegro.
The second movement is written in ternary form. It opens with a widely lyrical and cantabile main theme in E major, unfolding in a series of dialogues between instruments such as first violin and cello. The central section is a variation of the main material with added dynamic contrast, increased chromaticism and virtuosity in the instrumental parts. After a passionate climax, the main theme is recapitulated before ending the adagio with a gentle E major coda.
The third movement is a scherzo in ternary form. It begins with a rhythmic and animated main theme in B minor, reminiscent of a rustic dance tune. After a B major modulation of the material, the contrasting trio section features a two-part, dance-like second theme in E major. Both parts are repeated before the scherzo material returns. A resolute coda ends with the key of B major.
The fourth movement is structured in sonata form. It opens with a lively and elegant main theme in E minor, presented by first violin and cello over tremoli from viola and second violin. A hardly contrasting second theme is also introduced over cello pizzicati, leading to a dramatic climax. The exposition is then repeated. The ensuing development starts with a dialogue between first violin and cello, before the material is transformed in a substantial fugato passage. The themes are then recapitulated, leading to a dramatic coda that ends the quartet with Beethovenian E minor chords.
Picture: "Epidaurus" (1849) by the German painter Carl Rottmann.
Musical analysis written by myself. Source: tinyurl.com/2y3xx8o7
To check the score: tinyurl.com/2243asq2
