LDV260_FLIPBOOK

String Quartet no.3 in G major, op.90

The entire third quartet, like the fourth movement of the second quartet, is a

“brilliant” work that is more like a violin concerto than a string quartet.

The sonata-movement formof the opening

Moderato

serves as a framework for the

first violin’s virtuoso passagework, which occurs primarily during the bridge to the

second theme, the development and the coda. The first violin’s phrases overflow

with trills, large leaps in the high treble, double strings and octave chains, which

are accompanied by chords in the lower voices.

The

Scherzo

is composed along the same lines, and includes numerous octaves.

The dance-like character of the movement comes through despite its rapid tempo.

The Trio, in 6/4 time, provides a moment of respite. The harmonic support provided

by the lower voices while the first violin plays its sweet, singing melody is entirely

unadventurous.

Virtuosity almost entirely disappears in the

Adagio

, the quartet’s shortest

movement. The theme, which contains a descending major third, begins like a

canon, and it is uncertainwhether the piece is in amajor or aminor key. The cello is

the only solo instrument to make use of the thematic material played in the lower

voices.

The last movement includes a number of elements typical of Kalliwoda’s

compositions: folk-like melodies, sixths and thirds, and the frequent use of strong

rhythms all make great demands on the virtuosity of the first violinist. Two fugato

passages occur during the first violin’s continuous passagework. The harmonics

that are sometimes heard are a special feature of the work.

TALICH QUARTET