The second half of the eighteenth century witnessed a flourishing
of the string quartet, often represented as a smooth and logical
progression from first violin-dominated homophony to a more equal
conversation between the four voices. Yet this progression was
neither as smooth nor as linear as previously thought, as Mara
Parker illustrates in her examination of the string quartet during
this period. Looking at a wide variety of string quartets by
composers such as Pleyel, Distler and Filtz, in addition to Haydn
and Mozart, the book proposes a new way of describing the
relationships between the four instruments in different works.
Broadly speaking, these relationships follow one of four patterns:
the 'lecture', the 'polite conversation', the 'debate', and the
'conversation'. In focusing on these musical discourses, it becomes
apparent that each work is the product of its composer's stylistic
choices, location, intended performers and intended audience.
Instead of evolving in a strict and universal sequence, the string
quartet in the latter half of the eighteenth century was a complex
genre with composers mixing and matching musical discourses as
circumstances and their own creative impulses required.
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