- String Quartets, Op. 33 (Haydn)
The "Op. 33 String Quartets" were written by
Joseph Haydn in the summer and fall of1781 for the Viennese publisherArtaria . This set of quartets has several nicknames, the most common of which is the "Russian" quartets, because Haydn dedicated the quartets to the Grand Duke Paul of Russia and many (if not all) of the quartets were premiered on Christmas Day, 1781, at the Viennese apartment of the Duke's wife, the Grand Duchess Maria Feodorovna.Berger, Melvin. Guide to Chamber Music. New York: Dover, 1985. 196-201.]Opus 33 No. 1
This quartet in
B minor is numbered in variously as No. 31, Hob. III:37 and FHE No. 70.
#Allegro moderato
#Scherzo: Allegro di molto
#Andante
#Finale: PrestoThe first movement pretends to start in
D major before settling in the home key ofB minor .Rosen, Charles (1997). "The Classical Style: Haydn, Mozart, Beethoven", New York: W. W. Norton & Co.. ISBN 0-393-00653-0.]Opus 33 No. 2
This quartet in
E-flat major , nicknamed "The Joke" is numbered in variously as No. 30, Hob. III:38 and FHE No. 71.
#"Allegro moderato"
#"Scherzo: allegro"
#"Largo"
#"Presto"Fourth Movement
The fourth movement implemented a lighter character, originating from Haydn’s first shift from the
minuet to thescherzo . It also portrayed some new features in Haydn's compositions, for example, theRondo form , which satisfied audiences since the form was becoming enormously popular at this time. In a letter toArtaria ,Haydn boasted about his pieces by saying, they are “a new and entirely special kind.” Therondo form of the final movement remains true to its definition by always returning to the tonic in the refrain. It is also in a basicbinary form , in which each section is repeated in the firstrefrain , and followed by sections in which the repeats are omitted.Burkholder, J. Peter. (2006). "Norton Anthology of Western Music". New York. W. W. Norton & Company, Inc.]Form
The "
Rondo " results in an ABACA form. Chronologically, the firstrefrain (A) (mm.1-35) beginning in E flat major, repeats each section, (a) and (ba), forming (aababa.) In the first episode (B) (mm.36-71) beginning in A flat major, moves to F minor and finally resolves to E flat major at the beginning of the secondrefrain (A) (mm.72-106), which is almost an exact repetition of the firstrefrain (aba) with the only change being the omission of the repeats. The secondrefrain is not only the arrival point of thetonic , but is also the final point ofmodulation for the remainder of the piece. The piece then progresses to new thematic material in the second episode (C) (mm.107-140), but, again, does notmodulate to a new key. After the new material, the finalrefrain (A) (mm.141-147), should be considered A’ due to therefrain material being condensed. The end is quite unique; this particularcoda changes the tempo to an adagio (mm.148-153) then, in the conclusion of the piece, moves to (a’) asHaydn teases the audience, hence the name, "The Joke."The Joke
At the end of the Rondo, starting at measure 148, Haydn implements a joke in this piece. It begins with a grand pause that makes the audience wonder if the piece is over. This is followed a sudden forte sixteenth note in the beginning of the
adagio that shocks the audience. After this, the firstviolin plays the A theme of the opening phrase with rests interrupting the music every two bars. The rests get progressively longer, giving the impression that the piece is over many times in a row, making for an amusing ending. During this time period, it has been said that audiences would erupt in laughter at this humorouscoda .Haydn used thiscoda not only to make fun of audiences confused as to where to applaud, but also amateur musicians who were too "beat-driven," and what he deemed a redundantrondo form. Also, not surprising due to Haydn’s witty personality, this is not the only type of humor in the piece: this entire movement is filled with little “jokes.” For example, the large dominant preparation over a pedal base in the B section merely resolves to a smallrecapitulation of the opening theme. This toys with the audience and leaves their expectations cut short. [A. Wheelock, Gretchen (1992). "Engaging Strategies in Haydn's Opus 33 String Quartets". Schirmir Books.] Some may say that the only joke, besides the obvious ending, is on the people trying to find “the new and special way.” [Weitz, Jay (2004). "Program Notes" http://www.cmcolumbus.org/04-05_Season/Program%20Notes/st_lawrence.htm.] Others also argue that the adagio is a “remembrance of things past due,” hinting at the thought that it is time to advance music to another new level. Nevertheless, these carefully calculated humorous strategies give this piece its title “The Joke.” [Edwards,George (1991). "The Musical Quarterly" 75, No. 3: 227-254.]Opus 33 No. 3
This quartet in
C major , nicknamed "The Bird" is numbered in variously as No. 32, Hob. III:39 and FHE No. 72.
#Allegro moderato
#Scherzo: Allegretto
#Adagio ma non troppo
#Finale: Rondo - PrestoThe first movement opens with a melody in the first violin featuring repeated notes. Grace notes are inserted between the repeated notes which gives the melody a "birdlike quality" and hence gives the quartet its nickname.
Opus 33 No. 4
This quartet in
B flat major is numbered in variously as No. 34, Hob. III:40 and FHE No. 73.
#Allegro moderato
#Scherzo: Allegretto
#Largo
#Finale: PrestoOpus 33 No. 5
This quartet in
G major , nicknamed "How Do You Do" is numbered in variously as No. 29, Hob. III:41 and FHE No. 74.
#Vivace assai
#Largo e cantabile
#Scherzo: Allegro
#Finale: AllegrettoThe Allegretto finale was later arranged for solo piano as Hob. XVII:10.
Opus 33 No. 6
This quartet in
D major is numbered in variously as No. 33, Hob. III:42 and FHE No. 75.
#Vivace assai
#Andante
#Scherzo: Allegretto
#Finale: AllegrettoThe finale is in
double variation form (ABA1B1A2) with themes in D major and D minor.Notes
See also
*
List of string quartets by Joseph Haydn External links
* [http://www.bbc.co.uk/radio3/discoveringmusic/audioarchive.shtml BBC Discovering Music] (browse for .ram file for this work)
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