By W. Dean Sutcliffe
The Op. 50 string quartets comprise a few of the purest writing Haydn ever finished. during this first complete account of the six quartets, Dean Sutcliffe evaluates the Op. 50 with regards to Haydn's extra often played quartets and considers their relevance to Haydn's wider output. every one quartet is mentioned intimately. The history to those works incorporates a short background of the string quartet and an review of Haydn's prior works during this style and of his function at Esterhaza. the outline of the composition and book of the Op. 50 quartets is predicated at the proof of Haydn's surviving letters and the lately found autograph copies of nos. three to 6--a discovery that's vividly documented right here for the 1st time.
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Extra info for Haydn: String Quartets, Op. 50 (Cambridge Music Handbooks)
There's a loss of adequate structural articulation and thematic balance, as each capability aspect of leisure is denied. This avoidance of a large-scale structural downbeat, which certainly keeps throughout the improvement regardless of its misleading returns, necessitates a complete sequence of them on the finish - within the kind of emphatic complete closes. No. 2 in C significant the facility of a subject in shaping the process a move and certainly a piece has already develop into obvious within the exam of Op. 50. when it comes to personality, variety, and method the 1st fabric we pay attention can indicate and seventy six The person works make logical a lot of what's to stick to. The stylistic dualism of the C significant Quartet has been thought of prior: the anomaly of the Adagio and the contrasting elements of the 3rd flow factor from the juxtaposition of discovered and lighter components within the first move. not just does the 1st circulation show those disjunctions on a wide scale - the comfy moment topic (bars 43ff. ) as opposed to the heat of the harmonic digression at 65-83 as opposed to the soberly contrapuntal passages - however the clash is already packed into the hole subject. hence the 1st violin's line, angular and frightened yet with a whiff of the contrapuntist's tag approximately it, stands at odds with the comfortable waltz-like accompaniment supplied via the opposite tools. Following this, at bars 10-11, Haydn once again nearly appears to be like placing phrases into his avid gamers' mouths. The unexpected unison, piano and occasional in tessitura, turns out to put a company question-mark after the really desultory 'theme', asymmetrical and loosely provided. ('Did we actually suggest that? ') The unison additionally has the impact of undermining the power of the previous ideal cadence at bars 8-9. After this short deadlock a daring technique is followed, with a fz secondary dominant chord to V, broadly spaced after the previous unison E. The gamers then flow with a express of decision and virtuosity to the dominant, as though hoping that the stream could now continue on a regular path to G significant. despite the fact that, the 4 emphatic chords of bars 17-181 are echoed uncertainly through a dominant 7th of the house key at 19-201, and the hole fabric then returns. It proceeds widely as before everything, hence implying that it'll act as a consequent to bars 1-20, that are momentarily understood as a truly huge antecedent word. even though the 'consequent' seems to be a transition, this structural behaviour units the phrases for an additional very important element of the flow and of the complete paintings. in contrast to No. 1, with its obsessiveness and relentless reiterations, No. 2 is a quartet that strikes in wide and more often than not well-defined paragraphs. It has already been mentioned that either first and moment routine characteristic a clearly-defined region of thematic distinction within the demeanour of a moment topic, an outstanding characteristic for this opus. The finale extends the consistency of this technique by means of containing a thematically secure and texturally specified moment subject. The definition of those topics is bolstered by means of the truth that they constantly recur verbatim, as though status outdoors the adjustments of fabric that take place somewhere else.