I also prefer his quartets to his symphonies. But then for me this is also often the case with other composers, for example Mozart: symphonies are by far not what I prefer by Mozart. So in my case it may have something to do with symphonies in general. Though I do like Mahler's and Bruckner's symphonies, but in their case it is different, as their musical idiom is essentially symphonic.
I think this contrast between chamber music and symphonic music is most staggering in the case of Mendelssohn. I find his symphonies limited and "dated" but the chamber music feels far more authentic as the expression of a human being. Dvorak and Brahms (to lesser degrees) also reveal themselves more fully, more intimately and more interestingly in their chamber music. I suppose it is because symphonic music is more public and chamber music more private.
You got that right!. Chamber allows a more intimate view of the composers ideals of composition. It demands of clearer forms, and it´s far more difficult to construct a musical dialog with just a few instruments, than with several (contrary to literature, musical language leans in other directions). Brahms last compositions were Piano pieces, marvelous pieces with great internal power. many of his most intimate compositions, like the clarinet quintet, the clarinet sonata are from this period. Beethoven´s last compositions were quartets, moments on were composers felt a need of deepness and introspection. To summarize: Couldn´t agree more with you.
Amazing - you may be surprised that the original score was found in Australia , last of the original scores to turn up to my knowledge - last 3 of Opus 50 handed over in a carrier bag. Around 1980 I guess.
Haydn (and Boccherini) cretad indeed the string qurtet, in which the instruments are considered as equal, and not only accompanying the melody of the first violin. Beethoven was to bring it to mythic summits, but without th previous efforts of Haydn, he could not have built his masterworks. This is a good example of a Haydnian quartet. It is mastely interpreted.
Haydn - and Boccherini or Mozart - being portrayed as John the Baptist to Beethoven’s Jesus Christ is as unhelpful as it is misleading; it does little other than to perpetuate out-dated stereotypes, and it devalues the music of the Classical period (c.1750-1800).
@@elaineblackhurst1509 I nover did wite that. I was speaking about a precise technical point, without outdated christic metaphores: the writing change from supremacy of the first violin accompanied by the other ones to a modern meaningful polyphonic style. Read for instance Charles Rosen's analyses
@@gerardbegni2806 I think you strongly did imply that the Classical composers were just precursors to Beethoven, and my neat metaphor summed up very concisely the mistaken point you were trying to make. Additionally of course, your point as presented about the first violin is misleading; composers before Beethoven were sharing material around the four instruments with some regularity. Needless to say, I’ve read Rosen - and much more - on music of the Classical period.
@@elaineblackhurst1509 no not at all this is. Not at all thé issue at stage For sure Beethoven is an important point on that trajectoty but bartok is another one. And even nowaday Carter or ferneyblugb raise this issue in a suite. Original and specific way
I don(t know the reason of the surname of this quartet. But for sure, it is a very solid composition. The architecture of Haydn's quartets (and works in general) is quite solid and melodic and harmonic details perfectly fit with the whole, while each of them is a genuine creation.
I suspect that Beethoven studied this quartet. His own D-major quartet has a first movement that imitates the first movement of this one in so many ways.
You are right in general Beethoven studied Haydn's string quartets, oratories and a few of piano sonatas as well along with a variety other works but until the end of his life he always returned to Haydn's string quartets. The first movement is rather spectacular for starting on a vocal sigh that makes the melodic material never really cadence strongly ( many a time the violin or another instrument has to literally crawl to thje top of sigh as if taking an inhalation) until the inner lines from cello comes in to effect some sort of resolution in a coda at the end. In a very elemental way it offers the germ for the endless melody which Wagner would create in the form we know it.
Thanks for the info. Don't remember ever having heard this particular quartet and was wondering about the title. Did Haydn come up with it or was it his publisher?
MarcusHK1 Sounds just like a cricket to me. Noisy creatures that keep me awake at night. Op 50/6 is for me by far the best of Haydn's Op 50 set though.
Richard Lightburn The nickname had nothing to do with Haydn and is entirely spurious. Haydn is *not* imitating a frog, and it would never entered his head to do such a ridiculous thing. The reason for ‘The Frog’ is a violin technique called ‘bariolage’ which is found at the start of the final movement. The repeated notes of the same pitch are played alternately on two different strings which creates a very unique sound; someone at sometime decided it sounded like a frog, and the name stuck.
@@elaineblackhurst1509 I agree he is NOT imitating a frog - the nickname is spurious, but to imply it would never enter Haydn's head is perhaps not as clear to me as it is to you!? As. I am sure you know Haydn was the master joker (both a practical jokes on his colleagues, as well as almost inventing or elevating humour in music as a concept -- something his Opus 33 string quartets became rightly famous and influential for). It was Haydn that actually put a 'fart' into a symphony and labelled it as such (Mozart followed suit). Haydn is such a wonderfully inventive composer who still surprises me (decades into my life) that I have become reluctant to impose limits on his thinking process. And in this String Quartet the use of the bariolage in the final movement is almost certainly there because it made Haydn smile, and the result makes me grin stupidly everytime I listen (not that the finale should be trivialised, as it is a highly sophisticated and clever finale).
Quest' opera è meravigliosa... È sempre una gioia riascoltarla!
So amazingly beautiful. Haydn´s quartets are completely unique. Even more than his symphonies.
I also prefer his quartets to his symphonies. But then for me this is also often the case with other composers, for example Mozart: symphonies are by far not what I prefer by Mozart. So in my case it may have something to do with symphonies in general. Though I do like Mahler's and Bruckner's symphonies, but in their case it is different, as their musical idiom is essentially symphonic.
I think this contrast between chamber music and symphonic music is most staggering in the case of Mendelssohn. I find his symphonies limited and "dated" but the chamber music feels far more authentic as the expression of a human being. Dvorak and Brahms (to lesser degrees) also reveal themselves more fully, more intimately and more interestingly in their chamber music. I suppose it is because symphonic music is more public and chamber music more private.
You got that right!. Chamber allows a more intimate view of the composers ideals of composition. It demands of clearer forms, and it´s far more difficult to construct a musical dialog with just a few instruments, than with several (contrary to literature, musical language leans in other directions). Brahms last compositions were Piano pieces, marvelous pieces with great internal power. many of his most intimate compositions, like the clarinet quintet, the clarinet sonata are from this period. Beethoven´s last compositions were quartets, moments on were composers felt a need of deepness and introspection. To summarize: Couldn´t agree more with you.
Unbelievably beautiful! Well played. I think it's the best.
Try "The Lindays", they also play Haydn very well :-)
Technically flawless and with a delicate glow.....
Amazing - you may be surprised that the original score was found in Australia , last of the original scores to turn up to my knowledge - last 3 of Opus 50 handed over in a carrier bag. Around 1980 I guess.
A wonderful ensemble for a dining table (especially the minuet)
A wonderful ensemble. Too bad for all the TSQ is no longer. One of the best ever!!
Thanks for posting!
Haydn (and Boccherini) cretad indeed the string qurtet, in which the instruments are considered as equal, and not only accompanying the melody of the first violin. Beethoven was to bring it to mythic summits, but without th previous efforts of Haydn, he could not have built his masterworks. This is a good example of a Haydnian quartet. It is mastely interpreted.
Haydn - and Boccherini or Mozart - being portrayed as John the Baptist to Beethoven’s Jesus Christ is as unhelpful as it is misleading; it does little other than to perpetuate out-dated stereotypes, and it devalues the music of the Classical period (c.1750-1800).
@@elaineblackhurst1509 I nover did wite that. I was speaking about a precise technical point, without outdated christic metaphores: the writing change from supremacy of the first violin accompanied by the other ones to a modern meaningful polyphonic style. Read for instance Charles Rosen's analyses
@@gerardbegni2806
I think you strongly did imply that the Classical composers were just precursors to Beethoven, and my neat metaphor summed up very concisely the mistaken point you were trying to make.
Additionally of course, your point as presented about the first violin is misleading; composers before Beethoven were sharing material around the four instruments with some regularity.
Needless to say, I’ve read Rosen - and much more - on music of the Classical period.
@@elaineblackhurst1509 no not at all this is. Not at all thé issue at stage
For sure Beethoven is an important point on that trajectoty but bartok is another one. And even nowaday Carter or ferneyblugb raise this issue in a suite. Original and specific way
I don(t know the reason of the surname of this quartet. But for sure, it is a very solid composition. The architecture of Haydn's quartets (and works in general) is quite solid and melodic and harmonic details perfectly fit with the whole, while each of them is a genuine creation.
Isn't it because someone found some similarity with the croaking of a frog in the fourth movement?
Probably yes.
I suspect that Beethoven studied this quartet. His own D-major quartet has a first movement that imitates the first movement of this one in so many ways.
You are right in general Beethoven studied Haydn's string quartets, oratories and a few of piano sonatas as well along with a variety other works but until the end of his life he always returned to Haydn's string quartets. The first movement is rather spectacular for starting on a vocal sigh that makes the melodic material never really cadence strongly ( many a time the violin or another instrument has to literally crawl to thje top of sigh as if taking an inhalation) until the inner lines from cello comes in to effect some sort of resolution in a coda at the end. In a very elemental way it offers the germ for the endless melody which Wagner would create in the form we know it.
It is called "The Frog," per Wikipedia, because in the fourth movement, the croaking of a frog is imitated.
Thanks for the info. Don't remember ever having heard this particular quartet and was wondering about the title. Did Haydn come up with it or was it his publisher?
According to Wikipedia it's a "nickname", so it's probably not Haydn who came up with it.
MarcusHK1 Sounds just like a cricket to me. Noisy creatures that keep me awake at night. Op 50/6 is for me by far the best of Haydn's Op 50 set though.
Richard Lightburn
The nickname had nothing to do with Haydn and is entirely spurious.
Haydn is *not* imitating a frog, and it would never entered his head to do such a ridiculous thing.
The reason for ‘The Frog’ is a violin technique called ‘bariolage’ which is found at the start of the final movement.
The repeated notes of the same pitch are played alternately on two different strings which creates a very unique sound; someone at sometime decided it sounded like a frog, and the name stuck.
@@elaineblackhurst1509 I agree he is NOT imitating a frog - the nickname is spurious, but to imply it would never enter Haydn's head is perhaps not as clear to me as it is to you!? As. I am sure you know Haydn was the master joker (both a practical jokes on his colleagues, as well as almost inventing or elevating humour in music as a concept -- something his Opus 33 string quartets became rightly famous and influential for). It was Haydn that actually put a 'fart' into a symphony and labelled it as such (Mozart followed suit). Haydn is such a wonderfully inventive composer who still surprises me (decades into my life) that I have become reluctant to impose limits on his thinking process. And in this String Quartet the use of the bariolage in the final movement is almost certainly there because it made Haydn smile, and the result makes me grin stupidly everytime I listen (not that the finale should be trivialised, as it is a highly sophisticated and clever finale).
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