Between 1769 and 1772, Haydn devoted himself intensively to writing string quartets, culminating in the outstanding Op. 20. Following this, he abandoned the quartet genre for almost ten years, concentrating instead primarily on operas, especially comedies for the Esterházy court. It wasn't until 1781 that Haydn resumed work on a new quartet cycle, offering potential subscribers the handwritten versions exclusively for six ducats each—this granted them the privilege of owning the pieces before their public publication. At a time when string quartets competed with symphonies for prestige, Haydn thus created highly sought-after works and secured himself additional income.
It was not until 1781 that Haydn resumed work on a new quartet cycle, offering potential subscribers the handwritten versions exclusively for six ducats each—this granted them the privilege of owning the pieces before their public release. Among the surviving promotional letters from December 1781 is one to the renowned Zurich theologian and philosopher Johann Caspar Lavater, in which Haydn announced that the new quartets were composed in a completely novel style, as he had not written any quartets for a decade. However, the publisher Artaria threatened to thwart Haydn's plans by announcing his intention to publish the quartets within four weeks. To avoid disappointing subscribers, Haydn ultimately managed to have the publication postponed until April 1782. Published as Op. 33, the quartet cycle initially appeared in an unusual order: the G major quartet opened the cycle, while the B-flat major quartet concluded it. Haydn also marketed the quartets to the publishers Schmitt in Amsterdam and Hummel. Thanks to his skillful approach, he repeatedly extricated himself from difficult situations and secured advantages for himself.
: ... Although Haydn's unusual approach was often seen as a mere marketing ploy, the quartets of Op. 33 did indeed possess innovative qualities, which were to be expected after a ten-year hiatus. In contrast to Op. 20, they displayed a lighter, more popular character and a more lively, spirited sense of rhythm, which Haydn had further developed through his comic operas. The quartets quickly spread throughout Europe and had a lasting influence on Mozart's later quartets. In some works, the scherzo was characterized by a humorous tone and was designated "Gli Scherzi" in some editions.
In the first quartet in B minor, the humorous element was expressed with particular wit and sometimes startlingly. Here, Haydn created a multifaceted interplay between the instruments that underscored the diversity and dynamism of the dialogue. The quartets were distinguished by brilliant conversational structures and had a profound influence on Mozart's own compositions, as he adopted numerous ideas and developed them in his own unique way.
With Op. 33, Haydn had the opportunity to explore new musical avenues. Despite delays and difficulties, his skill and ingenuity ultimately led to a successful publication of the cycle.