Haydn: String Quartets, Op. 76, Nos. 4, 5 and 6
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Composer: Franz Joseph HaydnPerformer: Kodaly Quartet
Edition: Music CD
CD Release Date: 1992-09-04
Music Label: Naxos
Soundtracks:
- Allegro Con Spirito
- Adagio
- Menuetto: Allegro
- Finale: Allegro Ma Non Troppo
- Allegretto - Allegro
- Largo Cantabile E Mesto
- Menuetto: Allegro
- Finale: Presto
- Allegretto - Allegro
- Fantasia: Adagio
- Menuetto: Presto
- Finale: Allegro Spirituoso
Music reviews of Haydn: String Quartets, Op. 76, Nos. 4, 5 and 6
Music Review: Exploring the Haydn Quartets -- Op. 76 nos. 4-6
Rating: 5 Stars
Joseph Haydn wrote the six string quartets of opus 76 in 1797 when he was at the height of his powers. The quartets were dedicated to Haydn's patron, Count Edody, and are known as the "Erody" quartets. The first three quartets of opus 76 appear on a separate Naxos CD by the Kodaly Quartet. In fact, the Kodaly Quartet has recorded the entire series of Haydn quartets at a budget price. The opus 76 quartets in particular are music-making at its highest level. These quartets are engaging and accessible to hear and to play (they were composed to be played) and are yet filled with imagination, inventiveness, and musical content. In describing the opus 76 quartets, Karl Geiringer writes in his "Haydn: A Creative Live in Music" (p. 321) that "[e]verything here is condensed and intensified, the expression more personal and more direct." This award-winning CD by the Kodaly Quartet includes the 4,5, and 6th quartet and is a joy.
The quartet no. 4 in B-flat major is known as the "Sunrise" after the running, rising theme in the first violin, set over heavy chords, with which it opens. The first movement, marked allegro con spirito, is a movement of contrasts. As do several other movements on this CD, it features alternating sections of fast and slow sections, rising and falling solo themes, and ensemble and solo playing. The second movement, marked adagio, continues to alternate solo passages for the violin with intricate playing for the entire ensemble. There is also a lovely theme deep in the lower register of the cello. This is a slow, sad movement. The third movement is a minuet which features echoing falling two-note figures heavily accented at the end of each phrase. The trio continues the pattern established in the earlier movements by having a solo theme sing out over chords in the remainder of the ensemble. The final movement is a rondo which opens with a whimsical, song-like theme played in the ensemble. As the movement progresses, the tempo increases, and the quartet ends humorously with a whirwind version of the rondo theme.
The fifth quartet in D major is unique in that each of the four movements develop essentially the same thematic material. The opening movement is an allegretto which opens quietly and lyrically in the violin. Here again, the movement dramatically picks up in tempo near the conclusion. The second movement of the work marked "Largo cantabile e mesto" (very slow, singing, and troubled) is the highpoint of this work. The slow movement is substantially longer than the opening movement, which is itself highly unusual in a composition of this period. The movement opens with a slow stately theme followed by an intense middle section in different harmonies and then a return of the opening material. The minuet opens in the alto voice of the strings, but the most striking feature of this movement is the ruminative, running solo for the cello in the trio. The finale, marked presto, consists of a running theme over a brushing figure in the strings. It reminded me of a Russian folk tune and of Beethoven's middle quartets.
The sixth and final quartet of opus 76 is in E-flat major and brings an extraordinary end to the set. The first movement, marked allegro-allegretto, is a set of variations based on a call and response theme. The variations feature solo instruments embellishing the theme as played by the ensemble. Again, this movement masterfully alternates fast and slow sections and ensemble and solo playing. There is a great deal of counterpoint throughout. The second movement marked "Fantasia:Adagio" is full of adventurous harmonic writing based upon rapid and ambiguous movements from one key to another. In much of this movement, Haydn dispensed with the use of a key signature, giving both the music and the notation a strikingly modern flavor. The third movement, a minuet, opens with a theme with many turns and twists for the violin in its upper register. But, again, the striking portion of this movement is in the trio. Haydn writes it in an old form called the Alternativo. The pattern is a rising heavily rhythmic passage in the cello playing the major scale, followed by a descending passage playing the scale. This is a delight to follow when one is prepared for it. The finale, allegro spirituoso, is based upon a falling figure. It is light and rapid and shows Haydn's mastery of counterpoint.
The music of these quartets, and of the earlier three quartets of opus 76 is inexhaustible. This CD is an outstanding introduction to chamber music and to the music of Haydn.
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