Album insights
In 1782, Haydn's op. 33 string quartets, composed in a "completely new and special way," caused an international stir, featuring refined, dialogic structures and a blend of light, melodic surfaces with tight motivic development. These quartets served as a model for many of Haydn's quartets in the 1780s and 90s. While achieving commercial success with op. 33, Haydn shifted his focus to opera, with only the small D minor quartet op. 42 appearing until 1787 when the next string quartets, op. 50, were created.
Haydn mentioned in an April 1784 letter to Viennese publisher Artaria that he was working on three "very short,” three-movement quartets for a Spanish patron, possibly lost. It's plausible that the standalone quartet op. 42 from 1785 contains music from this Spanish project. Known for publishing quartets individually, Hoffmeister released op. 42, following a similar style to Haydn's quartet. The quartet, despite its outward simplicity, showcases a subtle mastery that unfolds in various movements, revealing new nuances until the end.
Similarly, the D major Menuet channels a thematic focus akin to the first movement, marked by light, conversational exchanges. The Trio shifts to D minor, engaging in quasi-canonical imitation. Transforming the initial quiet phrase, the cheerful Adagio evolves with rich, luminous structures, reflecting Haydn's thematic economy throughout the quartet.
In the finale, reminiscent of earlier Haydn symphonies and Mozart's G major Quartet KV 387, a blend of "learned" and "popular" styles creates an engaging, humorous piece. Moments of quiet intrigue lead to a dynamic exploration, blurring the boundaries between development and reprise, keeping listeners captivated.
During the early months of 1799, following the success of "The Creation," Haydn agreed to compose a series of six quartets for music enthusiast Prince Lobkowitz. By July 1799, two quartets were finished, with plans to complete the project over the next three years. Though occupied with "The Seasons," Haydn's op. 77 quartets, dedicated to Lobkowitz, represented his final completed works in this genre, showcasing his technical mastery amassed over five decades.
The G major Quartet’s Allegro moderato embodies a spiritualized march, delivering a blend of dialogues and virtuosic brilliance. Infusing Es-Dur in the Adagio section adds an intriguing element, melting sonata form, variations, and passacaglia into an intricate musical tapestry. The effortless interplay between instrumentation crafts a layered, harmonically rich movement, a testament to Haydn's compositional finesse.
The so-called Menuetto in the second movement is a lively Scherzo, featuring spirited dialogues and abrupt shifts—a precursor to Beethoven's later quartets. The trio, transitioning to Des-Dur, offers a delicate lyricism amidst evocative textures and pianissimo moments, hinting at deeper emotional expressions.
By delving into B major for the Andante grazioso, Haydn introduces one of his most genial melodies, peppered with chromatic harmonies. The tonal adventures within the middle section serve as the boldest within a slow Haydn quartet movement, traversing a gamut of harmonic colors, ultimately concluding with a sense of farewell sadness.
Chromatic elements permeate the fiery d minor Menuet, portraying a turbulent interplay between instruments, culminating in dramatic pauses and dynamic contrasts. Transitioning from unrest in minor to soothing major in the Trio, the poignant melody encounters destabilizing twists and sudden shifts, mirroring aspects of unresolved longing against comforting resolutions.
Together with Beethoven's "Eroica," this poignant and powerful fragment stands as a testament to Haydn's enduring creativity as a composer of string quartets, elevating the medium to the pinnacle of artistic expression from its humble beginnings.