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Tag: Prince Anton Esterházy

String Quartet opus 74, no 1, in C major – Joseph Haydn

minuet-in-villa.jpg!Large.jpg     

         Minuet in Villa (c.1791)  

                Giovanni Domenico Tiepolo

                                _____________

                                          for my father

the Opus 74, along with the Opus 71, were
written as a unit, to deliver to the English 
public for presentation, if the opus numbers 
differ, it’s probably to do with publication 
dates, the 74‘s being later than the earlier
but they fit the bill together, batches of six
string quartets for Haydn’s opuses up until
now being the standard, each opus here 
comprising only half the normal number, 
just three

Haydn’s sponsor, Prince Nicholas Esterházy
had died, leaving his son, Anton, to preside, 
but being tone deaf, the descendant fired 
the orchestra, however until then illustrious 
the fact that these works were no longer,
therefore, court pieces but intended for 
larger, paying, audiences, changed the 
dynamics, Haydn is not only peripheral 
music at an aristocratic court any longer
he’s the host, and you can hear it

fermatas, where the note, or the pause, 
are accentuated, deliver drama, so does 
volume, and sudden tempo changes

therefore the Romantic Period

but, interestingly, the Classical 
foundation remains, the established 
structure – a musical statement, an 
elaboration, a second musical, 
related, statement, in usually a 
complementary key, it’s own 
elaboration, then a recapitulation 
of either, or both

the minuet, incidentally, stalwart
still, holding on to the very end of 
the 18th Century, still applies, 
sure enough, though residual 
sign of the earlier Classical 
supremacy, even as that era was 
inexorably disintegrating

music is an entertainment, it 
inspires, however so incidentally
though it ever, perhaps even 
intentionally, makes you often, 
indeed, cry, it’s needed, even in 
the direst circumstances, for 
courage, however ironically, 
however contrapuntally, in any 
particular moment, it might even 
seem cynical so to arouse spirit, 
inspiration, I mean the French had 
just turned the world upside down, 
and here was sparkling creativity

Haydn was doing his stuff, keeping 
us musically integrated, speaking 
music instead of politics, turning 
bad situation into pearls, keeping 
the world going, the very stuff of 
oracles
  
listen


R ! chard

String Quartet opus 71, no 2, in D major – Joseph Haydn

old-london-brige.jpg!Large

    “Old London Bridge

          J.M.W. Turner

              ________

in the spirit of juxtaposing two items of the 
same genus but growing from different 
trees, let me put together for comparison 
two versions of Haydn’s delightful Opus 71,
no 2, in D major, one by a quartet of ladies 
from “South Korea”, the other a same 
number of males from the “UK”, as 
indicated in either case on their videos

their Trondheim Chamber Music Festival
Competition was held last year, 2017,
it’s irrelevant who won on this particular
challenge, both are brilliant, so I’ll leave 
it up to you, the girls, the Esmé Quartet
the boys, the Maxwell – I think it might 
even come down to your sexual 
inclination, though both, as the host of 
the musical “Cabaret” would say, “are 
beautiful, life is beautifuleven the 
orchestra is beautiful“, indeed

the Apponyi Quartets, requested and paid 
for by Count Anton Georg Apponyi, after 
Haydn’s sponsor, Prince Nicholas Esterházy,
had died and left his son, Prince Anton, with
Haydn on his hands, whose orchestra he 
forthwith disbanded, being no aficionado of
music, Haydn was left to peddle his wares  
in London, England, where he became an 
undisputed success, not surprisingly, 
would think, after their having to handle the 
dour and, if you’ll forgive me, unimaginative, 
and uninspired Handel

the Esmé, I found, was sharp, acerbic, 
succinct in their first movement, but 
the Maxwell took over in their melting,
verily discombobulating adagio, a 
sensuality that seemed to evade the 
women’s more electric, crackling  
performance

the girls caught up, however, in the
final “allegretto”, where they killed it

like I said, it’s a toss-up, you choose


R ! chard