[AS] Tad46
21 Mar 2008, 10:46
OK, got it. To cytat z broszurki do płyty?
To już, żeby zakończyć przerzucanie się cytatami, ogólny cytat :-) z encyklopedii Grov\'a o muzyce:
Haydn\'s chamber music centres on his 68 string quartets, a genre of which he was more nearly the literal \'father\' than the symphony. (The traditional figure of 83 included the spurious op.3, three genuine early works that are not quartets, op.1 no.5 and op.2 nos.3 and 5, and the Seven Last Words, but omitted the early hII:6, \'op.0\'.) His earlier quartets were composed in three discrete groups separated by long pauses: the ten early works for Baron Fürnberg (in the mid- to late 1750s), opp.9, 17 and 20 (in the years around 1770) and op.33 (1781). Each group offers a different solution to the technical and aesthetic aspects of the genre while cumulatively enlarging the resources of quartet style. The Fürnberg quartets already take the soloistic ensemble for granted, including solo cello without continuo. They belong to the larger class of ensemble divertimentos, with which they share small outward dimensions, prevailing light tone (except in slow movements) and a five-movement pattern, usually fast-minuet-slow-minuet-fast. Even on this small scale, high and subtle art abounds: witness the rhythmic vitality, instrumental dialogue and controlled form of the first movement of op.1 no.1 in B ; the wide-ranging development and free recapitulation in the first movement of op.2 no.4 in F, and the pathos in its slow movement; and the consummate mastery of op.2 nos.1-2.
Opp.9, 17 and 20 established the four-movement form with two outer fast movements, a slow movement and a minuet (although in this period the minuet usually precedes the slow movement). They also - op.20 in particular - established the larger dimensions, higher aesthetic pretensions and greater emotional range that were to characterize the genre from this point onwards. They are important exemplars of Haydn\'s Sturm und Drang manner: four works are in the minor (op.9 no.4, op.17 no.4, op.20 nos.3 and 5); and nos.2, 5 and 6 from op.20 include fugal finales. Op.20 no.2 exhibits a new degree of cyclic integration with its \'luxuriantly\' scored opening movement (Tovey, N1929-30), its minor-mode Capriccio slow movement which runs on, attacca, to the minuet (which itself mixes major and minor), and the combined light-serious character of the fugue. Op.17 no.5 and op.20 also expand the resources of quartet texture, as in the opening of op.20 no.2, where the cello has the melody, a violin takes the inner part and the viola executes the bass.
In op.33 these extremes are replaced by smaller outward dimensions, a more intimate tone, fewer extremes of expression, subtlety of instrumentation, wit (as in the \'Joke\' finale of no.2 in E ) and a newly popular style (e.g. in no.3 in C, the second group of the first movement, the trio and the finale). Haydn now prefers homophonic, periodic themes rather than irregularly shaped or contrapuntal ones; as a corollary, the phrase rhythm is infinitely variable. The slow movements and finales favour ABA and rondo forms rather than sonata form. However, these works are anything other than light or innocent: no.1 in B minor is serious throughout (the understated power of its ambiguous tonal opening has never been surpassed), as are the slow movements of nos.2 and 5. Op.33 has been taken as marking Haydn\'s achievement of \'thematische Arbeit\' (the flexible exchange of musical functions and development of the motivic material by all the parts within a primarily homophonic texture); although drastically oversimplified, this notion has had great historiographical influence. These quartets\' play with the conventions of genre and musical procedure is of unprecedented sophistication; in thus being \'music about music\', these quartets were arguably the first modern works.
The appearance of op.33 was the first major event in what was to become the crucial decade for the Viennese string quartet, as Mozart and many other composers joined Haydn in cultivating the genre. Indeed, all the elements of Classical quartet style as it has usually been understood first appeared together in Mozart\'s set dedicated to Haydn (1782-5). He responded in opp.50, 54/55 and 64 by combining the serious tone and large scale of op.20 with the \'popular\' aspects and lightly worn learning of op.33. The minuet now almost invariably appears in third position; the slow movements, in ABA, variation or double variation form are more melodic than those in op.33; the finales, usually in sonata or sonata rondo form, are weightier. Haydn\'s art is no longer always subtle; the opening of op.50 no.1 in B , with its softly pulsating solo cello pedal followed by the dissonant entry of the upper strings high above, is an overt stroke of genius, whose implications he draws out throughout the movement.
