Album insights
While the old cliché of Haydn as the "Father of the Symphony" no longer holds true, his status as the father of the string quartet has never been seriously questioned. Prior to Haydn delving into the genre in the mid to late 1750s, there were sporadic examples of divertimenti for two violins, viola, and cello by Viennese composers like Ignaz Holzbauer and Georg Christoph Wagenseil, as well as a tradition of playing orchestral works with one instrument per part. However, these older composers did not explore the potential of the string quartet medium as Haydn did. It was Haydn who elevated the quartet from its modest beginnings as outdoor serenades to a vehicle for the most complex and demanding musical discourse.
After the lively Divertimenti a Quattro of op. 1 and op. 2, composed for summer quartet parties at the country estate of his early patron Baron Fürnberg, there was a gap of about ten years. These were Haydn's initial years in the service of Prince Nikolaus Esterházy, characterized by intensive production of symphonies and later church music and music for the baryton, a strange variant of the viola da gamba with additional resonant strings that the Prince was passionately fond of. However, upon Haydn's return to the quartet, he threw himself into work, quickly producing the three collections of op. 9 (around 1769), op. 17 (1771), and op. 20 (1772), marking the maturation of the string quartet. Although still labeled as divertimenti a quattro, these works emerged as Haydn unquestionably matured into a great composer, showcasing a breadth, seriousness of intent, and increasing mastery of rhetorical and thematic development that set them apart from the lightweight quartets of the 1750s.
In the op. 9 quartets, notably, the first movement of No. 1 utilizes the rich sound possibilities of string music in C major. Haydn's quartet compositions demonstrated a progression toward more complex structures and thematic development. The quartets of op. 9 signaled a shift towards weightier, symphonic intentions, featuring substantial four-movement structures. These works represented a significant advancement in Haydn's exploration of the string quartet medium, showcasing his evolving sophistication and compositional mastery.
The beginning Moderato of No. 2 stands out for its beautiful harmonic sequence towards the end of the exposition, showcasing a particularly stirring musical moment. The quartets of op. 9 evolved into compositions that echoed the stylistic influences of the time while introducing novel elements and trends in string quartet writing. Haydn's innovative approaches to structure, form, and thematic development within the string quartet genre earned him a place of great distinction among classical composers.
In contrast to the weighty seriousness of the earlier quartets, Haydn's later quartets in op. 9 embraced a lighter and more popular style in their opening movements. These refreshing departures in style and approach showcased Haydn's versatility and adaptability as a composer, allowing him to explore a wide range of emotions and musical expressions within the framework of the string quartet.
Through the dynamic and innovative compositions within his op. 9 quartets, Haydn solidified his reputation as a pioneering figure in classical music, reshaping the conventions of the string quartet genre and setting new standards for future generations of composers to follow.