A very subtle writing for string quartet, as ot often in Haydn's production. The F sharp minor key is quite rarely used in a quartet. As far as I may know, the only other example is Schoenberg's quartet Nr 2, in which he experiments atonal structures in the last movement.
@@peterrossiter8307 Haydn wrote a number of works in - for the time - rather outre keys, or ventured into very strange tonalities; in the development section of the first movement of the piano sonata in E flat Hob. XVI:43 for example, he reaches F flat major and minor - unprecedented in the Viennese Classical period apart from himself and CPE Bach (who as just one example, finds himself in G# major in his sonata in A major Wq 55 No 4). Regarding Haydn and f# minor, the most important examples of his use of this tonality are: 1772 Symphony 45 (‘Farewell’) 1787 String quartet Opus 50 No 4 1795 Piano trio Hob. XV:26
A great performance of an absolute masterpiece.
A very subtle writing for string quartet, as ot often in Haydn's production. The F sharp minor key is quite rarely used in a quartet. As far as I may know, the only other example is Schoenberg's quartet Nr 2, in which he experiments atonal structures in the last movement.
Gérard Begni there are also works by Shostakovich, and Max Reger in the same key.
@@peterrossiter8307
Haydn wrote a number of works in - for the time - rather outre keys, or ventured into very strange tonalities; in the development section of the first movement of the piano sonata in E flat Hob. XVI:43 for example, he reaches F flat major and minor - unprecedented in the Viennese Classical period apart from himself and CPE Bach (who as just one example, finds himself in G# major in his sonata in A major Wq 55 No 4).
Regarding Haydn and f# minor, the most important examples of his use of this tonality are:
1772
Symphony 45 (‘Farewell’)
1787
String quartet Opus 50 No 4
1795
Piano trio Hob. XV:26