Though Haydn most often had composed masterpieces, 'tis is most often in his intimate compositions in minor keys in which he excells., I love this early string quartet of Haydn.
Vienna is still today the capital of music. This quartet is going to be played in Musiverein soon. The repertoires are made with great devotion and knowledge and of course viennese composers are presented well: Haydn, Mozart, Beethoven, Brahms. God bless this city!
robert frank gill From Opus 9 going forward, Haydn always included at least one minor key quartet in each set of six he published, two in Opus 20 (1772). In the 58 quartets from Opus 9 to the unfinished Opus 103, there are as many as 12 minor key quartets (21%), though none in the ten very early Opus 0, 1 and 2 ‘divertimenti a quattro’ works.
FraserGoodTimes Regarding the Minuet and ‘...take it or leave it’ - Mozart chose to take it. Minuets are what they are, but this one is a bit more interesting; you might find with repeated listening that you will change your view as there is rather more to it than you have discovered so far. Some pointers: firstly, as mentioned, Mozart no less, noticed this minuet and it is clearly the model for the minuet in his own d minor quartet K173. In fact, he obviously knew the whole quartet very well, did you notice the clear foreshadowing of the famous opening of Mozart’s late g minor Symphony 40 (K550), in Haydn’s opening movement ? (Mozart is quoting Haydn exactly). Other features to listen out for in the minuet include how far away Haydn has moved from a courtly dancing minuet; the irregular phrase structure coupled to wandering tonality and cadences often not resolving in the ways expected for c.1769 when the works were composed. The trio section - the only part in D major - just features the two violins, the first playing entirely double stopped notes along with the second, thus creating a genuine trio texture. In short, if you compare this with almost any contemporary minuet, it is in fact quite new, highly original, and rather sensuous, hence Mozart’s interest. Hope that helps.
@@elaineblackhurst1509 Agree! I just commented on how similar the minuet theme in this piece is to Mozarts minuet from his D minor quartet he wrote for Haydn.
Excellent piece! who said Haydn only wrote good music in his later years? This is a wonderful piece and written in the 1760's. I would be willing to bet The young Mozart loved this one. (That second movement intro theme sounds a lot like the theme from Mozart's minuet from the D minor quartet he wrote for Haydn! )
I’m not sure any serious observer has made the comment about Haydn only being good in his later years, except perhaps members of the Flat Earth Society, those who think the moon is made of green cheese, and similar. You have missed a far more important link with Mozart who certainly did know Opus 9* (we have discussed Mozart taking the Minuet as a model elsewhere in this thread). Look and listen carefully to the central phrase of the first movement first subject, then remind yourself of the opening of Mozart’s g minor Symphony 40 (K550). I don’t normally go in for these musical links, but it’s clear that Haydn’s nagging little motif embedded itself into Mozart’s subconscious and reappeared in 1788. * There are also copies of the Opus 17 quartets at Salzburg with Mozart’s performance annotations.
Though Haydn most often had composed masterpieces, 'tis is most often in his intimate compositions in minor keys in which he excells., I love this early string quartet of Haydn.
Vienna is still today the capital of music. This quartet is going to be played in Musiverein soon. The repertoires are made with great devotion and knowledge and of course viennese composers are presented well: Haydn, Mozart, Beethoven, Brahms. God bless this city!
A string quartet by Haydn in the minor key was a bit of an event back in the late 1760s.
robert frank gill
From Opus 9 going forward, Haydn always included at least one minor key quartet in each set of six he published, two in Opus 20 (1772).
In the 58 quartets from Opus 9 to the unfinished Opus 103, there are as many as 12 minor key quartets (21%), though none in the ten very early Opus 0, 1 and 2 ‘divertimenti a quattro’ works.
In my opinion, one of Haydn's very best Quartets. Intricate, varied, and compelling. I could take or leave the minuetto personally, is all. :P
FraserGoodTimes
Regarding the Minuet and ‘...take it or leave it’ - Mozart chose to take it.
Minuets are what they are, but this one is a bit more interesting; you might find with repeated listening that you will change your view as there is rather more to it than you have discovered so far.
Some pointers: firstly, as mentioned, Mozart no less, noticed this minuet and it is clearly the model for the minuet in his own d minor quartet K173.
In fact, he obviously knew the whole quartet very well, did you notice the clear foreshadowing of the famous opening of Mozart’s late g minor Symphony 40 (K550), in Haydn’s opening movement ?
(Mozart is quoting Haydn exactly).
Other features to listen out for in the minuet include how far away Haydn has moved from a courtly dancing minuet; the irregular phrase structure coupled to wandering tonality and cadences often not resolving in the ways expected for c.1769 when the works were composed.
The trio section - the only part in D major - just features the two violins, the first playing entirely double stopped notes along with the second, thus creating a genuine trio texture.
In short, if you compare this with almost any contemporary minuet, it is in fact quite new, highly original, and rather sensuous, hence Mozart’s interest.
Hope that helps.
@@elaineblackhurst1509 Agree! I just commented on how similar the minuet theme in this piece is to Mozarts minuet from his D minor quartet he wrote for Haydn.
Excellent piece! who said Haydn only wrote good music in his later years? This is a wonderful piece and written in the 1760's. I would be willing to bet The young Mozart loved this one.
(That second movement intro theme sounds a lot like the theme from Mozart's minuet from the D minor quartet he wrote for Haydn! )
I’m not sure any serious observer has made the comment about Haydn only being good in his later years, except perhaps members of the Flat Earth Society, those who think the moon is made of green cheese, and similar.
You have missed a far more important link with Mozart who certainly did know Opus 9* (we have discussed Mozart taking the Minuet as a model elsewhere in this thread).
Look and listen carefully to the central phrase of the first movement first subject, then remind yourself of the opening of Mozart’s g minor Symphony 40 (K550).
I don’t normally go in for these musical links, but it’s clear that Haydn’s nagging little motif embedded itself into Mozart’s subconscious and reappeared in 1788.
* There are also copies of the Opus 17 quartets at Salzburg with Mozart’s performance annotations.
Compare the similar tranquil mood of this with his last quartet in d minor Op.103
gg
18:25 (Presto) Thank me later. You know who you are
was this for a project?? XD
Anson Chan ayo I saw a comment on a classical music vid from less than a year ago? This is magic (and yes, probably for a project lol)