J. Haydn - Hob III:28 - String Quartet Op. 17 No. 4 in C minor
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- Опубліковано 1 сер 2024
- Set in 4 movements:
1. Moderato (0:00)
2. Menuetto: Allegretto (9:43)
3. Adagio cantabile (14:06)
4. Finale: Allegro (21:09)
Published in 1772.
Performers: Festetics Quartet.
I bet a few people can really appreciate this kind of art)
Thanks for posting. I enjoy these minor key classical works.
I'm not very familiar with the Haydn quartets before op. 20, but what I've heard, I really like.
The sombre introductory passage, by the 1st violin, in the 1st movement, is similar in tone and function to the beginning of Beethoven's sublime C# minor quartet op. 131, written about 50 years later.
Coming back to this quartet once more I am reminded of why I loved it in the first place.
I adore when Haydn writes in C minor, he always gives those pieces such an endearing and passionate character. Really feels like a meaningful story being sung/recited; it's truly captivating.
At 4:35 in the development Haydn gracefully slips into Abm.
C minor was a special key for all classical composers, but they used it differently. When Mozart (seldom) or Beethoven (often) used this key they used it for dramatic effects. Haydns C minor is more lyrical.
@@olavtryggvason1194 That's exactly the reason I love his use of the key. Very intimate and personal singing quality.
@@Garrett_Rowland That's the way Haydn used this key. I played, among others, his piano sonata i C minor. Haydn blamed his student Beethoven when Beethoven used the same key for strong dramatic tensions and gestures and effects in his piano trio op. 1 No. 3. For Haydn it was an intimate key. For Mozart and even more for Beethoven it was the key for big dramatic tensions, for inner conflicts and outer effects. Mozarts piano sonata K 457, his piano concerto K 491 - which sounds more like Beethoven - Mozarts fragment of the Mass in C minor and the initial scene with the dragon in the Magic Flute - all this is the use of the big dramatic C minor, which also Beethoven used whenever he chose this key. And Beethoven used this key very often, compared to other contemporaries.
Haydn , like Mozart, showed his true passion in the minor keys. They're some of my favorite pieces of his. I wish he had written more.
Excluding the 10 very early ‘divertimento a quattro’ quartets of c.1754-1762, of the remaining 58 string quartets, no less than 12 (21%) are in minor keys; there is at least one minor key quartet in every set, with two in Opus 20.
Opus 9 No 4 in d minor
Opus 17 No 4 in c minor
Opus 20 No 3 in g minor
Opus 20 No 5 in f minor
Opus 33 No 1 in b minor
Opus 42* in d minor
Opus 50 No 4 in f# minor
Opus 55 No 2** in f minor
Opus 64 No 2 in b minor
Opus 74 No 3** in g minor
Opus 76 No 2 in d minor
Opus 103§ fragment in d minor
* Only a single quartet ever written, presumably for a commission never completed.
** Opus 54/55, and Opus 71/74 are both single sets of six, artificially and arbitrarily split by contemporary publishers.
§ Would have been the third quartet of the incomplete Opus 77, but published separately and later as Haydn was simply too frail to write more than the two inner movements.
I hear The Magic flute in this.
Исправьте в заголовке тональность на c-moll!!
The description is in English, so the use of C minor is entirely correct.
If you would be so kind to correct: C minor please. Thanks for uploading!
Who was that picture in the background painted by?
This is in C minor, not C major.
the more you listen to Haydn, especially Haydn from the late 1760's-1770's, you realize what a huge influence he was on Mozart. (Mozart would later influence him) But this is rarely spoken of(Haydns tremendous influence on Mozart--ANd Beethoven as well, despite his ludicrous claim to the contrary, the little shit. LOL)
I know little of Mozart because I find his music quite boring and uninteresting, predictable and artificious. However, the influence of Haydn in Beethoven is evident and commonly recognized. Probably Beethoven himself noticed it was too great an influence. His very last string quartet is in dialogue with Haydn.
@@pepehaydn7039 Ok kid, I am gonna school you with some facts.
First off, the influence of Mozart on Beethoven IS highly recognized. In fact Beethoven literally lifted many of his phrases and even whole sections out of Mozart's pieces and used them in his own.
So I couldn't disagree with you more about Mozart. You obviously haven't listened to much of his music to make such a ridiculous statement. Perhaps before attacking a composer you should listen to more of their music.
Also,I find it hard to believe you could like Haydn and not like Mozart. Such a similar style and Harmonic vocabulary. You must have long ears made of wood if you like Haydn but hate Mozart. If you're just trying to piss me off by making a dumb ass comment, you succeeded.
BTW? Beethoven stole a lot from Haydn and once claimed"I never learned anything from Haydn" which was a complete lie. Beethoven was a great composer, but as a person, he left a lot to be desired and he wasn't willing to admit the composers he learned from, which i find to be a detestable trait.
Also, his later quartets are shit, and neither Mozart or Beethoven come anywhere near Haydn in this genre.
Lesson over.
@@mrbrianmccarthy
You make some good points but there is a glaring gap in your explanation of Beethoven’s often-quoted comment that:
‘I learned nothing from Haydn’, along with his refusal to add ‘Pupil of Haydn’ to the dedication of his Opus 2 piano sonatas to his counterpoint teacher.
Context is everything with the ‘I learned nothing…’ remark, especially as Beethoven probably had more of Haydn in his compositional DNA than any other composer, but the quotation is as meaningless as it is misleading when taken out the context that Beethoven was talking not about Haydn generally, but specifically about the counterpoint lessons taken on and off over 14 months between his arrival in Vienna in November 1792, and Haydn’s departure for his second trip to England in January 1794.
Removed from this crucial context, Beethoven’s comment is actually pure misinformation.
Furthermore, it’s not absolutely clear whether Beethoven was complaining about Haydn as a teacher, or what he was being taught (counterpoint from Fux’s Gradus ad Parnassum - the 18th century bible on the subject), or both; they are not the same thing.
@@elaineblackhurst1509 FYI: Beethoven had an equal amount of Mozart in his compositional DNA. If you study Mozart and then Beethoven, you'll see how many times Beethoven borrowed motifs and phrases from Mozart.