Haydn: String Quartets, Op. 50
The Op. 50 string quartets contain some of the purest writing Haydn ever accomplished. In this first full account of the six quartets, Dean Sutcliffe evaluates the Op. 50 in relation to Haydn's more frequently performed quartets and considers their relevance to Haydn's wider output. Each quartet is discussed in detail. The background to these works includes a brief history of the string quartet and an assessment of Haydn's earlier works in this genre and of his role at Esterhaza. The description of the composition and publication of the Op. 50 quartets is based on the evidence of Haydn's surviving letters and the recently discovered autograph copies of nos. 3 to 6--a discovery that is vividly documented here for the first time.
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achieved Allegro Andante appearance Artaria autographs bariolage Beethoven beginning cadence cadential cello Charles Rosen chord chromatic Classical Style Clementi closing gesture coda composer composer’s conﬁrmed context critical dissonant dominant double bar earlier edition Esterhaza Example exposition feature ﬁfth ﬁnal ﬁnale ﬁnally ﬁnd ﬁnish ﬁrst movement ﬁrst violin ﬂat fugue G major genre H. C. Robbins Landon harmonic Haydn Quartets heard Herr inﬂection inﬂuence instance instruments interrupted cadence Keller London major Quartet material melodic ment minor minuet monothematic move Mozart opening theme opera opus pedal phrase players plays Pleyel Poco adagio preceding present procedures provides recapitulation repeated reprise rhythm rhythmic role rondo Rosen second subject second violin seems sense shape signiﬁcant simply Six string quartets slow movement Somfai sonata sonata form speciﬁc structural stylistic subdominant Symphony texture thematic tonic trio turn ﬁgure unison variation Vienna viola Vivace whole