HAYDN - Quartet in D major, Hob III:49, Op. 50, No. 6 (“The Frog”)
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- Joseph Haydn: Quartet in D major, Hob III:49, Op. 50, No. 6 (“The Frog”)
Ania Filochowska, violin
Kevin Lin, violin
Erika Gray, viola
Oliver Herbert, cello
Performed on Saturday, November 21, 2015
Field Concert Hall, Curtis Institute of Music, Philadelphia
0:00 Pre-performance talk
3:35 Allegro
10:45 Adagio non lento
17:10 Menuetto: Poco allegretto
22:10 Finale: Vivace
Joseph Haydn’s six String Quartets, Op. 50, are dedicated to King Frederick William II of Prussia, one of the most prominent patrons of the arts in late 18th-century Europe. Haydn had some ideas for this set of quartets as early as 1784, but put off beginning serious work on them for several years as he pursued other projects. In 1787 he finally began work on the quartets. Around this time King Frederick wrote to Haydn, praising his recent “Paris” symphonies-Haydn had sent copies of the scores to the king-and enclosing a gold ring. Returning the favor, Haydn dedicated his new set of quartets to the king.
One of the most notable aspects of the Op. 50 quartets is the degree to which the cello takes a leading role in many passages. King Frederick was a talented amateur cellist, in addition to being a strong supporter of the arts who maintained a superb court orchestra and was a patron to Mozart and, later, Beethoven. By composing passages that featured the cello, Haydn ensured that the king would be appropriately featured if he were to perform the quartets with musicians from his court. It was a bold choice at the time; previously, most string quartets had followed a basic formula, with the first violin playing the majority of melodies and leading the group, while the second violin, viola, and cello played supporting roles. Throughout the Op. 50 quartets, Haydn strikes a balance between featuring the cello and placing it in the traditional supporting role, perhaps sensing that giving the cello too many exposed and difficult passages might risk putting the king in an embarrassing position if he struggled to keep pace with professional musicians.
This balance also reflects Haydn’s role in the development of the string quartet form. He was well respected in musical society, and his works were popular among the public, so he had a trendsetter’s freedom to experiment with musical forms. At the same time, many of his earlier works, such as the Op. 33 quartets, betray a caution not to stray unnecessarily far from the popular style, lest he alienate his audience or damage his reputation. With the Op. 50 quartets, Haydn took some of the earliest steps towards establishing the string quartet as a flexible ensemble at the cutting edge of musical developments. Wolfgang Amadeus Mozart, too, was conducting his own experiments with the string quartet around this time, including his infamous Dissonance Quartet, K.465, dedicated to Haydn; while Ludwig van Beethoven would soon go on to revolutionize the form far beyond what even Haydn, the father of the string quartet, could have imagined. This tradition of quartet innovation has echoed throughout music history to the present day. - เพลง
It's adorable that all of them wore green. 🐸
Great performance!Bravo!❤
With these works enthusiasm and accuracy is all - buckets of it. Well done .
Wonderful music, played excellently. This is a hard work, yet it seems simply playful in the hands of this quartet
Very well played. Thank you Miss. Gray, Miss. Filochowska, and gentlemen, for your dedication to your art.
Very nice.
Mozart’s ‘Dissonance’ quartet, mentioned in the description, ‘infamous’?
Комплименты, Ребята. Лягушки в восторге.
3:35
10:48
22:08
Thought I recognized Kevin. I live in London and have seen him with the London Phil.
Tanks😊
Комплименты! Кстати, в это время лягушек ещё было много. Гайдн любил природу.
HEY CIM,,,,THIS ISNT OP 50 NUBER 1....MIGHT WANT TO UPDATE THE TITLE PAGE ON THIS VIDEO,,,,THANK U