Album insights
During Haydn's highly successful first London visit in 1791, three quartets from his recently composed Opus 64 were performed as part of the concert series organized by Johann Peter Salomon at Hanover Square. Witnessing his quartets being played before a large audience for the first time was a significant inspiration for Haydn as he composed the six quartets, op. 71 and 74, during a calm period in Vienna in the fall of 1793, before returning to London shortly after. While two of the new quartets were performed at Salomon's concerts the following year, the plan to present the remaining pieces in the 1795 season was thwarted after new leadership took over the concert series. Dedicated to his old friend Count Anton Apponyi, Haydn received a substantial sum for exclusive rights to the quartets until their publication. The works were published in two groups of three in 1795 and 1796.
For the series of quartets op. 71 and 74, composed by Haydn during a relatively peaceful phase in Vienna, he departed from his usual private performance style to consider the London Hanover Square Rooms, accommodating up to 600 listeners. While not straying beyond the confines of true chamber music, the quartets from 1793 possess a more 'public' essence than his earlier works. They exhibit boldness and spaciousness with virtuosic passages for all instruments, especially the first violin, and sophisticated contrasts in texture, register, and dynamics.
Influenced by the grand quatuors concertants in London by composers like Adalbert Gyrowetz and Ignaz Pleyel, Haydn's quartets exhibit a distinct architectural approach that prioritizes musical cohesion over excessive virtuosity. The fast movements are taut and emphatic, resembling his London symphonies, while the slow movements in op. 71 No. 2 and op. 74 No. 3 are among Haydn's most compelling. Characteristic of late Haydn, these quartets also showcase a bold exploration of tonality, evident in distant modulations within movements and unconventional key choices in trios and movements like Largo assai.
Beginning with assertive introductory gestures, each of these "London quartets" aimed to capture the audience's attention. In B-flat Major, op. 71 No. 1, Haydn playfully opens with five brisk cadencing chords, reversing the usual convention. Variations of the arpeggio figure from the main theme populate the tightly structured first movement, demonstrating Haydn's virtuosic finesse. While showcasing moments of virtuosity, he balances this brilliance with serene polyphonic textures, seamlessly molding the theme into a flowing tapestry.
Infused with a Siciliano backdrop, the Adagio in F Major transitions subtly through robust chromatic touches and tonal shifts, leading to a delightful return to the main theme in a harp-like fashion. In the Menuet, Haydn deftly challenges the robustness of the main melody through playful figures and harmonic tweaks. His Finale combines daring melodies, instrumental brilliance, and intricate motivic development, ending softly—a departure from traditional fanfares.
The string quartet in D Major, op. 71 No. 2, opens with a solemn rhetorical introduction, leading into an energetic Allegro driven by defiant octave motifs, explored in biting modulations. Notably, Haydn civilizes the second theme, a catchy bucolic melody, through sophisticated counterpoint, heightening the drama in the return to the original form. The hyperactive finale showcases further thematic variations, culminating in a resolute statement of the octave motif.
The entry of the string quartet in E-flat Major, op. 71 No. 3, marked by a sonorous E-flat chord and a vibrant Violin theme, ushers in a mix of quirky, bizarre, and unsettling elements. The Andante con moto combines elements of Rondo and variations, oscillating between major and minor tonalities. A surprising turn in the final Moll episode unveils an ethereal delicacy, enhancing the piece's vivid contrast and complexity.
Interwoven with fanfare-like unisons, the quartet in F Major, op. 74 No. 2, leverages a sprightly main theme to construct a complex symphonic structure, tangling through energetic developments and revealing Haydn's orchestral inclinations. The Andante grazioso echoes motifs from Symphony No. 101, reflecting a fine balance of variations and showcasing instrumental colors meticulously. The lively Menuet leads into a mysterious trio, highlighting contrasting tonal shifts and playful melodic episodes.
Finally, the quartet in G Minor, op. 74 No. 3, nicknamed the "Rider" quartet for its galloping rhythms, stands as a favorite among audiences. With a lively Allegro non troppo, a stately slow movement in E Major, and confident Menuet in G Major, the quartet explores dynamic contrasts and concludes with an intricate finale, resolving the musical tensions with a vigorous G Major finish.
Richard Wigmore © 2019
Translation: ChatGPT