First Movement

I feel some tremendous downward energy from this first movement of 13^th quartet by Beethoven.
He apparently has tenacity for 4 descending notes as I will describe in detail here. It seems to be a bit different from his usual attachments to his motives. I guess that his reason is deeply related to the Grand Fugue. As you may agree, Grand Fugue is filled with the continual ascending will and expanding energy. Therefore he has to make an introduction movement which has the clear opposite subjects for contrast. Unique construction of the first movement eloquently speaks that its final movement must be Grand Fugue.

First movement is composed by Sonata form but its structure is very unique. This movement is characterized by the first 4 notes of introduction.

Preposition
Fig.1 shows and introduction part. The motive b’-a’-as’-g’ that descends with increasing volume is most important motive that competes with the theme of Grand Fugue and finally yields.
 

Fig.1-Mes.1

Next phrase shown as Fig.2 would be usually called the first theme appearing after the introduction. However, the characteristic of this phrase is a passage. It is made by a motive of four diatonically descending one-sixteenth notes, and the motive itself is combined to make downward phrase.
It should be noted that Beethoven puts forte on descending parts, and piano for necessary ascending to make next descending parts.

Fig.2-Mes.15

In the passage parts beginning from measure 37, the phrase is made by descending es-d-c-b, with forte.

Fig.3-Mes.37

Second theme from measure 53, 4 descending notes （es-des-ces-）B lead the second theme that also includes 4 descending notes with crescendo. By Its expression marks people would immediately associate motive of introduction.

Fig.4-Mes.53

After the preposition of second theme, very tense figure made from M1 follows. As shown in Fig.5, this section begins with pp and poco cresc, as it proceed downward

Fig.5-Mes.64

This part is connected to passage section from measure 70, descending 4 notes continues continually with tenancy. This motive develops and leads to closing section.

Fig.6 –Mes.71

And last part of the closing section is again made of descending figures. It really draws downward inch by inch.

Fig.7-Mes.90

Development

Beethoven omitted the repeat mark of Exposition by the following manner. He repeated the beginning “Adagio ma non trop” twice and connected Allegro part to make the sense of repeat.

Development has only 39 measures. Cello sings a relaxed melody and 1^st violin follows. This pattern is repeated twice and Development section is abruptly connected Recapture section. The relaxed melody includes a-g-f-e-d, but expression marks are quite usual. This portion should be regarded as a separation from main subject for contrast. However, we can find g-f which is played by viola from measure 101 at “Adagio ma non troppo” This is related to M1 that is descending 4 notes. This motive is taken over by 2^nd violin and cello though this development section as like an ambush.

Fig.8 Mes 104

Recapture

Recapture starts from “Allegro” There is some modifications, but Recapture portion is composed by a usual style. Second theme is transposed to G-flat major from D-flat major.

Coda:

Coda is very impressive. It close this movement quietly recalling the first theme section
 

Relations between First Movement and Grand Fugue

It is still quite popular to play the string quartet No.13 with the Finale (allegro) that Beethoven wrote later by the request of a publisher.  Henle published their urtext version, and they use Allegro finale as the last movement of Op.130 and attached Grand Fugue as Op.133.

I think it is good time to put Grand Fugue to its original position as Op.130. Maybe 2027 would be the best year to do this.

Let’s study the beginning of Grand Fugue. Following a short introduction, Theme is presented. The theme has 3 chromatically rising motives that are g-gis, gis-a, fis-g.  You may clearly understand that ascent is the essential will of this theme as shown in Fig.9-Mes. 1  Grand Fugue.  This will is carried out through this great fugue from beginning to end.
Fig.9 Mes.1- Grand Fugue

Then, look at the counter subject of the first fugue starting from measure30. It comprises 4 descending notes that were fully developed in the first movement.

Fig.10 Mes.10- Grand Fugue

Beethoven tried to show all the components that will be used in this Grand Fugue in the part of “Overtura” spending 25 measures. It might be impossible even for Beethoven to introduce the counter concept to the theme of Grand Fugue in “Overture”. I think this would be the reason he composed a separate movement for counter concept.

I feel that putting 4 movements between 1^st movement and Grand Fugue is an excellent idea of Maestro, because there must be a big neutral zone between two big powers. Then two themes or concepts fight a decisive battle when the fugue begins. Therefore, the last movement of String quartet No.13 must be Grand Fugue as Beethoven originally planned.

Interpretation of the first movement.

This movement is very difficult to play as noted. To run together with 3 or 4 voices of one sixteenth notes in allegro tempo is almost impossible to get beautiful effect, Well, it is not an interpretation. Just complains to Maestro. As Beethoven’s interpretation is already written precisely, how to play with good understanding of Maestro’s intention is not so difficult if only you understand the object of this movement. How you express descending 4 notes is a key.

However, we had a difficulty playing the passage section from measure 71. Who is the melody? 2^nd Violin with continuous one-sixteenth, or simple melody line by quarter notes? 
We managed this part emphasizing patterns of p. cresc. p, There may be a better way to play.
 

Musical Analysis

Style	Description	Measure No.			Mes,
Preposition
Theme1 section	Theme1	1	–	14	14
	Passage	15	–	20	6
	Theme1	21	–	24	4
	Closing	25	–	37	13
Passage section		37	–	53	17
Thme2 section	Introduction	53	–	55	3
	Passage	55	–	70	16
Passage section		71	–	87	17
Closing		87	–	93	7
Development	Theme1	94	–	103	10
	Free Development by Motive	104	–	132	29
Recapture	From Allegro	132	–	160	29
Theme2 section	Introduction	160	–	162	3
	Theme2	162	–	189	28
Passage Section		190	–	209	20
Closing		209	–	214	6
Coda section		214	–	234	21