Assai, sostenuto—Allegro;
'Allegro ma non tanto ; Heiliger
Dankgesang eines Genesenen an die Gottheit, in lidischer Tonart; Molto adagio ; Neue Kraft fuhlend (feeling new strength); Andante — Molto adagio — Andante — Molto adagio, mit innigster Empfindung; Alla marcia, assai vivace; Recitative, attacca; Allegro appassionato
IT has been pointed out before how much of Beethoven's own personality is expressed in the last great String Quartets, and of none is that more true than of this one.
The first movement begins with a slow and solemn introduc. tion in very quiet tone, and then the first violin breaks in with a nourish at the opening of the quick part of the movement. Almost at once the violoncello has a little snatch of the theme which is afterwards played in full by the first violin, and all through the movement it will be heard now in one voice, now in another.
The second movement is a form of Intermezzo with alternative section, and the third, a very splendid and beautiful slow movement, is the one which gives the Quartet its name.
The last movement opens with a robust march theme and a little later there is a splendid flowing tune, one of the noblest of all Beethoven's melodies, which forms the basis of most of the movement.