Vincent d’Indy, a student of Franck, pointed out that Mozart’s significant string quartets date from 1789 and 1790, when Mozart was already 33 years old, and not from his youth. D’Indy emphasized the central role of Beethoven’s late quartets within the 19th century. When Debussy and Ravel embraced the string quartet genre, d’Indy considered the connection to Beethoven indispensable. Franck’s commitment to chamber music, particularly his string quartet begun at the age of 66, was of crucial importance in this regard.
Franck’s pursuit of innovation is evident in the powerful first movement of his quartet, while the Scherzo is completed early. The Larghetto reflects a lightness reminiscent of Mendelssohn. The Finale initially quotes Beethoven’s Ninth Symphony before embarking on its own independent path. After Franck's death, d'Indy preserved his ideals by founding the Schola Cantorum and passing on these values. Although Franck and Fauré held differing views, they were united by their shared intimacy and the desire to each leave behind a string quartet as their final work.
Fauré's approach to the genre was characterized by restraint and a consistently modal style. His quartets are distinguished by mature intellectual insight and technical refinement. With a clear, contemplative character and finely crafted rhythmic motifs, Fauré created a quartet that embodies unity in diversity. Here, excessive ornamentation is not paramount, but rather a profound maturity—the fundamental criterion for this genre.