Richibi’s Weblog

Just another WordPress.com weblog

Tag: Opus 76 no 1 – Haydn

sonatas, continued (“String Quartet, Op. 76 no. 1” – Haydn)

The Flute Player, c.1660 - Adriaen van Ostade

 

          Adriaen van Ostade

 

               ___________

 

 

o, I said, when my flute teacher, an art I’d taken up

too late in life, presented me with a piece I should 

learn to play, the second movement of Haydn’s 

Opus 76, no. 1, an adagio sostenuto

 

adagios always remind me of John, I’d read, at

a modest ceremony of remembrance for him, 

from a text I’d prepared, which prophetically, 

transcendentally, connected me with a

cornucopia of adagios, I’d sought them out,

been consoled, repaired, eventually inspired, 

by them, Haydn’s Opus 76, no.1, movement 

two, had been a total shoe-in

 

Haydn is where the history of string quartets 

starts in the West, they existed before, but 

not formally as a musical format, became 

thereafter, however, an identifiable category, 

and consequently, imitated

 

the string quartet, a piece of music written

for four instruments, all string traditionally,

two violins, a viola, and a cello, playing 

more than one segment of music, 

Classically three, then becoming four,

became a structure that has not even

nowadays lost its appeal, though the 

individual combinations might’ve 

significantly, since, been altered 

 

Haydn wrote 68 string quartets, which  

established him as their spiritual father, 

all string quartets devolve from him,

including Beethoven‘s, those of 

Shostakovich, and Messiaen

 

marvel

 

 

R ! chard

String Quartet no 1, Opus 18, no 1 – Beethoven

musician-s-table-1914.jpg!Large.jpg

      “Musician’s table (1914) 

            Juan Gris

                _____

Beethoven’s First String Quartet came 
out much around the same time as 
Haydn’s Opus 76, no 1among six of 
them in his set, Beethoven also had 
six in his, however junior still, first
collection, his Opus 18, Beethoven 
would’ve been going on thirty, Haydn
nearly seventy, though his spirit hadn’t
in any manner flagged, listen

but their differences are evident if you
lend a thoughtful ear 

the format is the same, four movements,
inarguably contrasting, with formal 
adherence to Classical norms, tonality,
tempo, and return, but the style is, in 
Beethoven, being overtaken by the 
substance, again inarguably

at dinner together, if I may continue my
earlier allegorical conceit, by the second
movement, Beethoven has already 
entered politics, essentially, religion, 
these four, the players, have a bone to 
pick, and their conversation gets heated, 
there’s a pause, a reconciliation, before 
the third movement, dessert, as it were, 
which is merrier initially, but later 
remains contentious, liqueurs later, in 
the final movement, are still not enough 
to allow for a comfortable exit, however 
might’ve been the serenity of the 
intoxicating sherries, cognacs

Haydn would never have done that, 
having grown up in the proprieties
of the Esterházys, his aristocratic
sponsors, courtesy would’ve been 
of their essence

Beethoven’s is a call to arms, a 
consequence of the French 
Revolution, the birth of the 
Romantic Period

you can hear it in the music


R ! chard