A Royal Dream

The four parts come together as if awakening. Seemingly aberrant entries build up to become the driving force of the development, eventually setting the piece in motion. Rehearsal letter D introduces a new situation and tone colour: the melody develops over an established rhythmic landscape, out of which, at rehearsal letter F, there is an eruption of wild excitement in rhythmic concision. It is not until rehearsal letter K is reached that a murmuring pause builds a bridge to the last major section of the quartet, with long cantilenas oscillating widely until they condense into the final chords in austere beauty. (Dorothea Hofmann)