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Rider Quartet, op.74, No.3: 1st movement
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bars 1-10
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The introduction is formed by a jumping motif, from which the name "Rider Quartet" is derived.
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bars 11-20
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The main theme in G minor opens with a triad. In bar 12 the viola introduces a motif with the interval of a diminished fourth, which is then taken up the 2nd, later by the 1st violin. A melodic change (bar 19) at the end of the main theme transforms the diminished fourth into a diminished seventh.
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bars 20-28
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A triplet motif, which occurs in various forms - either as a leading melody or as an accompaniment - joins the upbeat (2 quarter notes) of the diminished motif with the main theme.
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bars 54-70
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The secondary theme "borrows" the upbeat from the main theme and introduces ascending sixths as a melodic element. On its first appearance it is accompanied by triplet arpeggios of the 2nd violin; when the secondary theme is taken up by the 2nd violin, the 1st violin provides an accompaniment derived from the triplet motif which formed a bridge between main theme and secondary theme.
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bars 79-98
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In the development violas and celli take up the introductory motif, counterpointed by a subject which derives from the triplet motif. A little later the parts are reversed: the introductory motif appears in the 1st violin, the bass strings take up the triplet countersubject.
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bars 107-114
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The secondary theme briefly turns up in the 1st violin, then in the cello.
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bars 114-127
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A variation of the main theme closes the development on a fermata.
The recapitulation keeps to the rules of the classical sonata form. The introductory motif does not occur any more.
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