The opus 76/1 is one of the great musical work in the répertoire.Take for example the thème of the développement of the first movement:an abrupt and pure Corelli-Haendel spirit!!The second mouvement is sublime .The third,a real mendelssohnian scherzo!!The finale is the final triumph of the Haydn's imagination...
Well, we know where Beethoven got some of his style now, don't we. Haydn, you were the master of the string quartet, but then so what, you invented it. Thanks for posting this opus Anthony.
Haydn didn't invent the string quartet. F.X. Richter, F.I.V. Beecke (listen to the C major, composed in the 1770s) were more skilled in counterpoint in theirs
@@beetroothoven1495 To suggest that Richter* or Beecke (never heard of him) were ‘…more skilled in counterpoint’ than Haydn and Beethoven demonstrates rather more familiarity with the world of ignorance and imagination than it does with that of knowledge and understanding. * I know a small number of Richter’s works which are professionally and competently composed - he was an important figure in the early Mannheim school; his counterpoint is very Fux-ian, and slightly old-fashioned.
Классная вещь! Когда-то в юности прослушивал один за другим. И следующие, два самых последних. Мастерство конечно, исключительное! Вторая часть прямо целое повествование! Гайдн ясен и чист, как всегда! И всегда любим!
The B natural never sounds against the C so no 7th chord. Just an augmented C major chord with viola playing surprising F# passing note which becomes equally surprisng 7th of subsequent (1st inversion) A7 dominant chord, D, D aug, G etc
star dust Beethoven’s Opus 59 was 1806; in 1799, Haydn completed only two quartets of the projected set of six* and attempted a third in 1803 (Opus 103), but was too frail and unable to muster the concentration necessary to complete the work.** By 1806 Haydn had been in retirement for some time and was totally incapable of composing; he almost certainly never heard Beethoven’s Opus 59 as he was too frail to leave his own house. Where did you find that totally spurious nonsense about him saying ‘he might as well stop writing string quartets’? Additionally, whatever else he may have said or done, he never underestimated - or overestimated - himself; he was very aware of his stature as a composer and never ‘undervalued himself’. * The two completed quartets were published as Opus 77. (Haydn’s Opus 77 and Beethoven’s first set - Opus 18 - are contemporaneous, and both were commissioned at the same time by Prince Lobkowitz). ** The torso of this fragmentary d minor quartet consists of a B flat Andante grazioso, and a d minor Minuet with a tonic major trio; it is short of its two outer movements which would also have been in d minor, but Haydn never recovered the strength to complete it, and in 1806 sent it to the publisher unfinished and incomplete but with his famous musical calling card: Hin ist alle mine Kraft, alt und Schwann bin ich. (Gone is all of my own strength, old and weak am I).
@@elaineblackhurst1509 On BBC radio 3 during a Beethoven week. I stopped listening to the BBC a few years back. I will never give that organization any money. I actually think that Haydn's opus 76 quartets are better.
@@stardust5379 Thanks for your reply; my initial response was a polite form of saying ‘Nonsense’, but as you’ve explained your source, it now makes more sense. It is however just possible that you might have mistaken which Beethoven works they meant. The great Haydn scholar HC Robbins Landon has speculated that Haydn gave up on his Opus 77 set after completing only the first two, and implied links to his having heard Beethoven’s Opus 18; the two composers were working on the sets simultaneously for Prince Lobkowitz. It is of course pure conjecture by HCRL, and in this case, a speculation with which I do not agree: Haydn had supreme confidence in his own abilities and was unlikely to be intimidated by his former counterpoint pupil in the manner he was by Mozart with opera. Indeed, Haydn even started writing genuine Beethoven-type scherzi in some of the Opus 76 quartets, something the old man clearly learned from the younger; increasing old-age and an associated inability to concentrate and apply himself to composition - in spite of ‘…being tortured by ideas’ - were the reasons Haydn stopped composing. Haydn in short, gave up on Opus 77 for two reasons: declining health, and the supreme effort he needed to summon-up to complete The Seasons. The BBC should have made this clear instead of peddling unsubstantiated theories, prestidigitation, and codology. The BBC aka Radio 3 does some good work, but the semi-deification of Beethoven at the expense of almost all other composers during 2020 was at times both patronising and ridiculous - Beethoven does not need bigging-up, we all know his true stature already: thank you. The BBC’s knowledge and understanding of Haydn has gone backwards since the days of HC Robbins Landon making regular broadcasts on Radio 3 in the 1970’s and 1980’s - a shame, because a proper understanding of Haydn - Mozart too - enhances our appreciation of Beethoven himself. Haydn’s Opus 76 are one of the absolute pinnacles of string quartet writing in western classical music; occasionally equalled, they have never been surpassed. You’re quite right to rate them so highly.
Hmmm: I having been watching through the staccato marks - and the repeats. I reckon string players give themselves a shedload of leeway by saying “Oh, it’s a bowing mark, not phrasing!” Then vice versa when it suits them. As for repeats, I reckon it always makes a substantial difference. Humph.
Almost every composer who ever wrote a string quartet - starting with Mozart and Beethoven - has to some degree been ‘influenced’ by the 68 written by Haydn over almost half a century between his first efforts c.1754 and the unfinished Opus 103 in 1803; in effect, they defined what was a string quartet and elevated the form to one the very highest levels at which any composer may be judged. In such a huge corpus of works of such sustained inspiration - one of the absolute pinnacles of western classical music - it is inevitable that you will find reminiscences of Haydn in later composers; relating to your point, Mendelssohn knew a number of Haydn’s works well, indeed rather more rather better than many of his contemporaries.
![Oscar Maydon x Fuerza Regida - Tu Boda [Official Video]](http://i.ytimg.com/vi/_ymicn0_GYc/mqdefault.jpg)
The famous Jack-in-the-box quartet! Perhaps my favorite of all of them.
Ahh yes. I see you are a person of culture. May the Jack-In-The-Box Quartet live on forever.
I love the fact that you included the notes alongside with the music, many thanks !
Yes… impressive
The opus 76/1 is one of the great musical work in the répertoire.Take for example the thème of the développement of the first movement:an abrupt and pure Corelli-Haendel spirit!!The second mouvement is sublime .The third,a real mendelssohnian scherzo!!The finale is the final triumph of the Haydn's imagination...
Well, we know where Beethoven got some of his style now, don't we. Haydn, you were the master of the string quartet, but then so what, you invented it. Thanks for posting this opus Anthony.
Haydn didn't invent the string quartet. F.X. Richter, F.I.V. Beecke (listen to the C major, composed in the 1770s) were more skilled in counterpoint in theirs
@@beetroothoven1495
To suggest that Richter* or Beecke (never heard of him) were ‘…more skilled in counterpoint’ than Haydn and Beethoven demonstrates rather more familiarity with the world of ignorance and imagination than it does with that of knowledge and understanding.
* I know a small number of Richter’s works which are professionally and competently composed - he was an important figure in the early Mannheim school; his counterpoint is very Fux-ian, and slightly old-fashioned.
@@elaineblackhurst1509 Большой знаток третьестепенных композиторов 18-го века, однако! ))
Beethoven wishes he were as talented as Papa Haydn
Классная вещь! Когда-то в юности прослушивал один за другим. И следующие, два самых последних. Мастерство конечно, исключительное! Вторая часть прямо целое повествование! Гайдн ясен и чист, как всегда! И всегда любим!
Jesus this is beautifully crafted
gorfreckuf m Ahn
@@rembranthock1983 what
It's amazing as original as Beethoven was, how he and Haydn really do share a vibe.
Fantastic. Love the 2nd and 3rd movements in particular.
Oh yeah, I hope it's the beginning of a new series :) Thanks a lot!
2nd movement is beautiful ;'(
Have you heard the 2nd movement of Scubert's string quintet. The best recording is by the Lindsay string quartet on ASV label.
Love this. particulary the part in the finale 16:14
Eternal Haydn.
The Amadeus consider every single note in their interpretations...the greatest!
Lovely piece
How the dramatic pace has stopped in a moment!! 17:04
I love it! ❤
Omg ist soooo beautiful
How is the second movement that beautiful?
The second movement doesn't seem all that far away from the Cavatina from Beethoven's b flat quartet
Thank you.
@8:10 maj7(#5) yeah !
The B natural never sounds against the C so no 7th chord. Just an augmented C major chord with viola playing surprising F# passing note which becomes equally surprisng 7th of subsequent (1st inversion) A7 dominant chord, D, D aug, G etc
Thanks!!
I like the cellist
The one member of the Amadeus who is still with us.
Amazing
5:45 for movement 2
Ian Chan thanks brudda
when Haydn heard Beethoven's opus 59 quartets he said he might as well stop writing string quartets. He undervalued himself.
star dust
Beethoven’s Opus 59 was 1806; in 1799, Haydn completed only two quartets of the projected set of six* and attempted a third in 1803 (Opus 103), but was too frail and unable to muster the concentration necessary to complete the work.**
By 1806 Haydn had been in retirement for some time and was totally incapable of composing; he almost certainly never heard Beethoven’s Opus 59 as he was too frail to leave his own house.
Where did you find that totally spurious nonsense about him saying ‘he might as well stop writing string quartets’?
Additionally, whatever else he may have said or done, he never underestimated - or overestimated - himself; he was very aware of his stature as a composer and never ‘undervalued himself’.
* The two completed quartets were published as Opus 77.
(Haydn’s Opus 77 and Beethoven’s first set - Opus 18 - are contemporaneous, and both were commissioned at the same time by Prince Lobkowitz).
** The torso of this fragmentary d minor quartet consists of a B flat Andante grazioso, and a d minor Minuet with a tonic major trio; it is short of its two outer movements which would also have been in d minor, but Haydn never recovered the strength to complete it, and in 1806 sent it to the publisher unfinished and incomplete but with his famous musical calling card:
Hin ist alle mine Kraft, alt und Schwann bin ich.
(Gone is all of my own strength, old and weak am I).
@@elaineblackhurst1509 On BBC radio 3 during a Beethoven week. I stopped listening to the BBC a few years back. I will never give that organization any money. I actually think that Haydn's opus 76 quartets are better.
@@stardust5379
Thanks for your reply; my initial response was a polite form of saying ‘Nonsense’, but as you’ve explained your source, it now makes more sense.
It is however just possible that you might have mistaken which Beethoven works they meant.
The great Haydn scholar HC Robbins Landon has speculated that Haydn gave up on his Opus 77 set after completing only the first two, and implied links to his having heard Beethoven’s Opus 18; the two composers were working on the sets simultaneously for Prince Lobkowitz.
It is of course pure conjecture by HCRL, and in this case, a speculation with which I do not agree: Haydn had supreme confidence in his own abilities and was unlikely to be intimidated by his former counterpoint pupil in the manner he was by Mozart with opera.
Indeed, Haydn even started writing genuine Beethoven-type scherzi in some of the Opus 76 quartets, something the old man clearly learned from the younger; increasing old-age and an associated inability to concentrate and apply himself to composition - in spite of ‘…being tortured by ideas’ - were the reasons Haydn stopped composing.
Haydn in short, gave up on Opus 77 for two reasons: declining health, and the supreme effort he needed to summon-up to complete The Seasons.
The BBC should have made this clear instead of peddling unsubstantiated theories, prestidigitation, and codology.
The BBC aka Radio 3 does some good work, but the semi-deification of Beethoven at the expense of almost all other composers during 2020 was at times both patronising and ridiculous - Beethoven does not need bigging-up, we all know his true stature already: thank you.
The BBC’s knowledge and understanding of Haydn has gone backwards since the days of HC Robbins Landon making regular broadcasts on Radio 3 in the 1970’s and 1980’s - a shame, because a proper understanding of Haydn - Mozart too - enhances our appreciation of Beethoven himself.
Haydn’s Opus 76 are one of the absolute pinnacles of string quartet writing in western classical music; occasionally equalled, they have never been surpassed.
You’re quite right to rate them so highly.
Hmmm: I having been watching through the staccato marks - and the repeats. I reckon string players give themselves a shedload of leeway by saying “Oh, it’s a bowing mark, not phrasing!” Then vice versa when it suits them. As for repeats, I reckon it always makes a substantial difference. Humph.
There's two different types of staccato. Mostly it's the bowing mark one, but they're to be interpreted differently.
Ugh 2:53😍
3:11🎶
The famous "Kazoo" string quartet, though, I didn't hear any kazoo's in this recording unfortunately.
6:19 did this particular part have any influence on Mendelssohn?
Almost every composer who ever wrote a string quartet - starting with Mozart and Beethoven - has to some degree been ‘influenced’ by the 68 written by Haydn over almost half a century between his first efforts c.1754 and the unfinished Opus 103 in 1803; in effect, they defined what was a string quartet and elevated the form to one the very highest levels at which any composer may be judged.
In such a huge corpus of works of such sustained inspiration - one of the absolute pinnacles of western classical music - it is inevitable that you will find reminiscences of Haydn in later composers; relating to your point, Mendelssohn knew a number of Haydn’s works well, indeed rather more rather better than many of his contemporaries.
Ciiiiiiircke of fith 3:25
15:06
Where is thumbnail?
海顿弦乐四重奏 GOOD
It should sound as different as Mozart's.
15:07 16:37
16:21 58 cello wrong notes
Afa 3+4