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The ''String Quartet No. 2'', written in 1881, by Alexander Borodin is a work in four movements: #Allegro moderato in D major and 2/2 time, with 304 bars; #Scherzo. Allegro in F major and 3/4 time, with 299 bars; #Notturno (Nocturne): Andante in A major and 3/4 time, with 180 bars; #Finale: Andante — Vivace in D major and 2/4 time, with 671 bars. It was written in Zhitovo, while staying with his friend, the minor composer Nikolai Lodyzhensky.〔(St. Petersburg String Quartet )〕 1881, the year of its composition, also saw the composition of the symphonic poem ''In the Steppes of Central Asia''; the quartet premiered in that year or the next. (The external links give a more complete tale but conflict on the date.) ==First movement== The first movement is written in a sonata form. The principal theme of the exposition begins in measure one, with a cello singing a lyrical melody in high register. \version "2.14.2" \relative c' The transition begins in measure 35, and quickly leads into the subordinate theme (measure 44) in A-Major, a dominant. \version "2.14.2" \relative c'' The subordinate theme has a complex structure, a three-part form of its own (a-b-a'), which leads into the closing theme in measure 86 (Animato), which concludes the exposition in measure 107. The development (beginning in measure 108) begins with the same material as the exposition, except the cello is in the low register, and the key is changed from D-major to F-major. After some contrapuntal work, the development reaches a dominant pedal point (measure 167), which resolves in the main key of the piece, D-Major, in the recapitulation in measure 180. The recapitulation follows the broad outlines of the exposition, except the subordinate theme (measure 224) begins in E-flat major instead of the customary D-major. The three-part structure of the subordinate theme, though, allows Borodin to reach the expected D-major in the a' part of the subordinate theme (measure 257), and the closing theme (measure 266) concludes the movement. The first movement is one of the most perfect examples of Borodin's lyrical (as opposed to dramatic) treatment of the sonata form. All thematic material is lyrical; contrasts are achieved through the use of contrapuntal writing (as in the middle section of the subordinate theme, beginning in measure 57, and especially in beginning in measure 65), or color contrasts (such as changes of keys--beginning of the development, and particularly the non-traditional key of the subordinate theme in the recapitulation). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「String Quartet No. 2 (Borodin)」の詳細全文を読む スポンサード リンク
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