Schönberg's (so-called) First Quartet Op.7 was written in late Romantic style, à la Max Reger (but one level higher). The Second Quartet op.10 is exceptional in several ways. Gradually the music leaves the framework of traditional tonality to breathe in the 'air of other planets' (read: the atonality): a moment of great historical importance, which was especially graced for this occasion with the
… addition of an obligatory soprano. With the Third and Fourth Quartets, Schönberg seems to be returning to Haydn, Mozart and Beethoven through his favorite composer Brahms. Apparently Schönberg wanted to shout to his audience by means of a (neo-) classical design: 'See you now; thanks to my twelve-tone technique we can compose just as before !; why don't you hear that? ' The irony of Schönberg's traditional design, however, was that this did not make his twelve-tone music easier but more difficult to access. Schönberg apparently did not understand that his highly structured chromaticism called for a radically new design and aesthetic. (It should be noted, however, that Schönberg was very inventive in dealing with rhythmic and metric meanings. Traditional examples can also be pointed out for this, particularly in Mozart. Schönberg's imitation, however, was so rigorous that movement patterns actually determine the theme). For most lovers of classical music, Schönberg is indigestible. Fortunately, there are also listeners for whom repeated listening is a challenge! It is precisely these 'happy few' who know how to penetrate this extremely expressive world, where most listeners only hear gray chromaticism. For example, the Aron Quartett plays the Allegro Molto of the Fourth Quartet as if their lives depended on it. Also great is the homophonic input of the Largo from this quartet, which clearly shows that Schönberg was not a singing slide rule, but an expressionist in heart and soul. (HJ)more
