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After a second A major variation that pits second violin and viola against the first violin, the ending is as abrupt as that of the first movement. Far from easing the tension, the F sharp minor trio is a quiet, single-minded contrapuntal development of the minuet itself, with the viola taking the lead.
Haydn closes with a rapid fugue, as he had done in three of the Op 20 quartets, colouring Baroque techniques with the drama of his sonata style. The tortuous subject outlines the interval of the diminished seventh, a crucial sonority in the first three movements; and in his quest for unity Haydn incorporates links with earlier events, not least the explosive fortissimo climax on an alien chord of G major near the end: No 5 in F major could hardly be more different.
In its outer movements, at least, this is the lightest and most amiable of the Op 50 set. But Haydn being Haydn, the genial, serenade-like tone coexists with immense compositional sophistication. In the easy-paced opening movement Haydn wittily makes the disruptive repeated C sharps on viola and cello in bar five the mainspring of the dramatic action. At the start of the recapitulation the C sharps are immediately re-spelt as D flats and initiate a new contrapuntal development of the theme in A flat major.
Synonyms and antonyms of Haydn in the German dictionary of synonyms
Uniquely in Op 50, the centre of gravity lies in the middle movements. The minuet, with its insistent grace-note upbeats, is sinewy and tonally restless, a world away from the traditional courtly dance. As in Op 50 No 4, the trio increases rather than decreases the tension with a concentrated development of the minuet itself.
There is a crucial difference between the autograph and the familar printed editions here. Early editors added an F minor key signature before the trio, so that the D natural becomes D flat, making the sforzando unison two bars later far less unsettling. Like No 1, it begins with a musical pun in which a closing formula becomes an unstable opening. Throughout the movement Haydn restlessly probes the implications of this instability.
Resolving cadences are constantly deferred, while textures are often contrapuntal and highly chromatic.
Haydn continues to avoid emphatic cadences right through to the mysterious close, whose shadowed harmonies prepare for the D minor opening of the second movement. Just as the opening Allegro was the most imposing of the Op 50 set, so the expressively ornamented Poco adagio is the most searching of the slow movements. Based on a single, siciliano-style theme, it alone uses full sonata form, with a development that moves from D flat major introduced boldly after the F major close of the exposition through A flat major and E major—a magical moment—to a fortissimo preparation for the recapitulation.
True to his usual practice, Haydn resolves the tensions of the minor mode by ending serenely in D major. Haydn again turns convention on its head by writing a trio nearly twice as long as the main section. After three predominantly serious movements, the finale is Haydn at his most antic, with a touch of grotesquerie in its pervasive use of bariolage—a rasping, quivering effect created by the quickfire repetition of the same note on adjacent strings. Someone in the nineteenth century thought this sounded like a croaking frog, and the nickname stuck.
Like a loose cannon, the bariolage figure threatens to invade any of the parts at any time. There is also a clear-cut second theme, in F sharp minor rather than the expected A major, and emphasizing, perhaps with a touch of parody, the six-note falling figure with which the quartet had opened. In the closing bars Haydn creates a new comic-exotic tone colour by having all the instruments play the bariolage motif simultaneously.
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Like its three predecessors, the movement ends in a whisper. Kein Satz aus op. Doch hat dieser elegante Siziliano-Satz durchaus auch seine eigenen Feinheiten: Das Menuett von Nr. Der ausgedehnte erste Satz von Nr. Ebenso wie in op. Das Finale beginnt nicht so sehr mit einer Melodie, sondern eher einer Neckerei zwischen den Instrumenten—eben die Art von Instrumentalsatz, die humorlose Musikkritiker des Haydn betont wiederum die zyklische Einheit, indem er dem Menuett, Trio und Finale das Thema des ersten Satzes zugrunde legt.
Im Gegensatz zu dem melodisch aufwendigen Mozart verleiht Haydn dem ersten Satz, Spiritoso, eine eigensinnige Energie, die sich aus den eckigen Konturen und vorantreibenden Rhythmen des ersten Themas speist. Nach der zweiten A-Dur-Variation, in der die zweite Geige mit der Bratsche gegen die erste Geige gesetzt wird, kommt das Ende ebenso abrupt daher wie im ersten Satz. Zwischen dem Manuskript und den vertrauten Druckausgaben tut sich ein bedeutender Unterschied auf.
Haydn vermeidet weiterhin betonte Kadenzen bis zum geheimnisvollen Schluss, dessen abgeschattete Harmonien auf den d-Moll-Beginn des zweiten Satzes vorbereiten.
String Quartet No.18 in A major, K.464 (Mozart, Wolfgang Amadeus)
Einmal mehr stellt Haydn die Konventionen auf den Kopf, indem er das Trio fast doppelt so lang anlegt wie den Hauptteil. Ebenso wie in der fast gleichzeitig entstandenen Symphonie Nr. Diese Bariolage-Figur droht, wie ein ungesteuertes Geschoss jederzeit eine der anderen Stimmen zu belagern. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Don't show me this message again. March Total duration: When we get performances like these it is hard to argue against them.
On the strength of this issue, that acclaim comes with good reason. Considerable defects scuffing, scratching etc. All Auction Buy it now. LP is housed in picture sleeve in excellent condition showing "Not For Resale" sticker on rear. Vinyl disc is in excellent condition. Orchestra Conducted by Alfred Wallenstein. Concerto for piano and Orchestra No. A lot of marks.
I only list records in this condition if they are very rare. Quite a few marks. A few more hairline and light marks still. A few more hairline and light marks. Barely noticeable surface mark with no loss of sound quality. I can then send an adjusted invoice. Gate fold Manufactured in Germany Vinyl good no scratches.
Wer Uns Getraut Der Zigeunerbaron. Cat no Got one to sell?
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