Haydn String Quartet No.41 Op.50 No.6 Hob.III:49 Frog 海頓 絃樂 四重奏 41 50-6 青蛙 rana 蛙 Score Sheet 【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Haydn String Quartet No.41 in D major Op.50 No.6 Hob.III:49 Frog
海頓 絃樂 四重奏 第41號 作品50-6 D大調 青蛙
海顿 絃樂 四重奏 第41号 作品50-6 D大调 青蛙
Haydn Cuartetos de Cuerda No.41 Op.50 No.6 en re mayor "La rana"
ハイドン 弦楽四重奏曲 第41番, Op.50-6 ニ長調 蛙
Classical music Música clásica クラッシック 古典音樂 古典音乐
Prussian プロシア prusianos
#Haydn #Frog #青蛙 #kero
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The nickname Frog comes from the 4th movement, where some part of the melody sounds like a croaking frog.
00:00 I Allegro
06:51 II Poco adagio
13:02 III Menuetto: Allegretto
14:29 Trio
17:29 IV Finale: Allegro con spirito
Haydn's choice of D major for this quartet, with the second movement in D minor, optimises the use of open strings and allows for the work to be the loudest and most grandiose of the set. The first movement opens peculiarly: the first violin starts on an E, and proceeds to play a four-measure phrase that concludes with a D major chord. The use of a closing phrase to start the movement is the first of a number of unsettling incidents in the movement. The exposition withholds the expected cadence to the dominant almost until the exposition ends. And the movement itself has a tentative pianissimo ending that serves more as a link to the D-minor Adagio than a proper conclusion.
The Adagio is in sonata form and presents a single theme. While the exposition modulates to a re-statement of the theme in F major, the recapitulation modulates to D major. The movement ends in that key, pianissimo, with a segue (an explicit direction given by Haydn to avoid too long a pause between the movements) to the D-major minuet.
The minuet is the shortest among those of the Opus 50, but the trio features an exceptionally long second section, which uses drifting melodies, a fermata and a pair of two-measure pauses to create a sense of timelessness. Neither the minuet nor the trio reaches a proper conclusion, and in this they continue a feature of the first two movements. The minuet ends with a perfunctory reprise of its main theme and the trio draws out its final cadence with a chromatic passage marked "diminuendo". Again, Haydn reinforces the interconnectedness between the movements with an explicit direction to the performers for an immediate segue from the reprised minuet to the finale.
The finale brings out Haydn's playfulness. The sound effect that predominates is unison bariolage, a technique heard for instance at the very opening: the first violinist fingers the note A on the D string, then bows in a way that rapidly alternates playing this fingered A with the identically-pitched A on the adjacent open (unfingered) A string. The resulting strange pulsating effect is the consequence of an open string having a quite distinct timbre (louder, more ringing) from a fingered one. Haydn employed unison bariolage in a number of his works (such as the "Farewell" Symphony), but nowhere is it employed as obsessively as in the Opus 50 No. 6 finale. The sound of unison bariolage has reminded some listeners of a croaking frog, and is what earned the quartet its nickname. But the movement is no mere auditory joke. It contains important thematic connections to the earlier movements that, aside from the explicit segues between movements, result in a significant degree of cyclic integration. The most important thematic connection is that the closing-phrase opening of the first movement reappears in the finale in a modified form: it no longer stands alone, but as the second part of an eight-measure phrase that forms the movement's secondary theme. Presented in this context, the ambiguity inherent in its appearance in the first movement is resolved.