Joseph Haydn's String Quartets, Op. In this article, we discuss the nature of the string quartettrace how it evolved through Haydnexamine each of the Opus 76 quartetsconsider some important recordings and then list some sources of information. The string quartets of Joseph Haydn afford a unique opportunity in the annals of Western art — to trace the development of a major genre from birth to maturity, and all within the output of a single artist. A corollary benefit is to outline the evolution of a leading composer's genius, since Haydn's quartets extend from his very first to his very last published works.
Allegro, ma non troppo First movement analysis[ edit ] Exposition The opening of the movement begins in a way that seemingly contradicts the allegro con spirito marking. Violin II, viola, and cello sustain a tonic chord while the first violin plays the melody the "sunrise" motif on top.
In measure 7, the same instruments sustain a dominant 7th chord while the first violin again plays a rising solo on top. In measure 22, all instruments reach forteand allegro con spirito character is apparent through the 16th-note movement and lively staccato eighth-notes trading off between the parts.
In measure 37, the opening sunrise Haydns sonata no 62 program notes returns, this time with the solo in the cello and the sustained chords in the violins and viola.
The lively 16th-note section returns in measure 50, beginning with 16th-notes in the cello which move to the viola, and finally, the violins. In measure 60, all instruments drop to piano for a six-measure staccato eighth-note section before jumping to an all 16th-note ff in measure 66 to finish off the exposition.
Development The development in measure 69 begins with the same texture as does the opening of the movement—with the 2nd violin, viola, and cello sustaining a chord while the 1st violin plays a solo on top. The first chord, sustained from barsis a d minor chord, the relative minor of the dominant F major.
The second chord, sustained from barsis an F sharp diminished seventh chordresolving to G minor in measure 80, which signifies the return of trading moving 16th-notes. The following 5 measures revolve around G minor, only to modulate to E-flat major in measure The major tonality lasts but two measures, as it shifts to F minor in measure 88, F sharp diminished in 89, and G minor in measure In measure 96, the violins play staccato eighth-notes followed by eighth note rests, while the viola and cello fill in the violins' eighth note rests with their own eighth notes.
This sets up a pattern for the rest of the development section, in which one instrument, mainly the 1st violin in measuresfills in an eighth-rest with a lone eighth-note, thus giving each measure a steady eighth-note pulse. Throughout this section, the dynamic gradually drops from forte to pianissimo by means of a poco a poco decrescendo.
When the pianissimo is finally reached in measurethe retransition to the recapitulation begins, ending on the dominant seventh chord F of the original key, B flat Major. Recapitulation In measurethe beginning of the recapitulation begins just as the beginning of the exposition does—the 2nd violin, viola, and cello sustaining a tonic chord while the 1st violin plays the sunrise motif above it.
In measurethe allegro con spirito 16th-note section returns in the 1st violin, punctuated by staccato eighth-notes in the other instruments. The 16th-notes trade off to the 2nd violin, culminating in an all-instrument unison in measure After this, the opening theme returns again, with the solo line beginning with the cello and moving up through the viola to the 2nd violin.
In measureall strings crescendo to the returning 16th-note theme in measure In measurethe staccato eighth-note trade-off section returns, in the tonic key and piano dynamic. A fortissimo appears in measurebeginning the lead into the I7 chord fermata.
Beginning in the following measure, the viola, and two violins pass each other the opening sunrise motif for a measure at a time, while the remaining instruments sustain chords. The tonic returns in measurewith a brief teaser of the staccato eighth-note theme, to be replaced by the 16th-notes played by all instruments in the fortissimo dynamic.
In the final three bars, all four instruments play a succession of tonic B flat major chords.Franz Joseph Haydn Sonata No. 60 in C major Hob.
XV Haydn’s last three piano sonatas, Nos. 60 to 62 (Hob. XVI), were written during the composer’s second trip to London of All three were composed with a specific Continue reading →. Unlike Mozart, Beethoven, Clementi, and a number of his other near-contemporaries, Haydn was not a virtuoso pianist.
Haydn recognized this, once stating, "I was a wizard on no instrument, but I knew the strength and working of all." However, until Beethoven, the piano sonata was not composed primarily as a vehicle for virtuoso technique -- that . HAYDN & MOZART January , GYROWETZ Symphony Op.
|Program notes: Sir András Schiff - Vancouver Recital Society||Here, though, they are integrated into a boldly comprehensive design.|
|List of works by Joseph Haydn - IMSLP/Petrucci Music Library: Free Public Domain Sheet Music||The tone had more than a whiff of aristocratic elegance about it, its imaginary terpsichorean world being one of crisp court etiquette rather than rollicking village merriment.|
3 MOZART Violin Concerto No. 5 “Turkish” HAYDN Symphony No. . Classical music program notes and articles - works lists. HAYDN Sonata No. 62 in E-flat Major, Hob.
XVI Allegro Adagio Sir András Schiff, piano Friday, October 16 8 pm The Folly Theater program notes heaven and earth, luminous and transfigured. In this final piano sonata, his .
String Quartets, Op. 76 represent the apex of his evolution of the genre from birth to maturity. In this article, we discuss the nature of the string quartet, trace how it evolved through Haydn, examine each of the Opus 76 quartets, consider some important recordings and then list some sources of information.