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musical jokes. In this case he tinkers with the movement's sonata form by reference to an historical variation of it. The recapitulation starts only with a statement of the second phrase of the movement's theme, which is in the dominant. This would have been a common technique earlier in the eighteenth century that, in this instance, is liable to confuse the unknowing listener looking for the statement of the first phrase of the theme in the tonic. It is not until 27 measures later that the listener is presented with a more emphatic reprise, which is actually a coda. The coda involves the statement of the main theme in the tonic that the listener might have been expecting, and it does so after two measures of pointed silence.
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854:, and is what earned the quartet its nickname. But the movement is no mere auditory joke. It contains important thematic connections to the earlier movements that, aside from the explicit segues between movements, result in a significant degree of cyclic integration. The most important thematic connection is that the closing-phrase opening of the first movement reappears in the finale in a modified form: it no longer stands alone, but as the second part of an eight-measure phrase that forms the movement's secondary theme. Presented in this context, the ambiguity inherent in its appearance in the first movement is resolved.
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258:. The Haydn scholar Georg Feder, who was visiting Australia at the time, then verified the scores to be the authentic original manuscripts of the four quartets. It emerged that the woman who presented the manuscripts to Hogwood had inherited them, through successive generations, from an English colonel who had purchased them at an 1851 auction before emigrating to New Zealand. The colonel's heirs were evidently unaware that they owned the only original versions of the quartets in Haydn's pen. Until the 1982 discovery, publishers had been working from incomplete or non-original editions.
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846:, a technique heard for instance at the very opening: the first violinist fingers the note A on the D string, then bows in a way that rapidly alternates playing this fingered A with the identically-pitched A on the adjacent open (unfingered) A string. The resulting strange pulsating effect is the consequence of an open string having a quite distinct timbre (louder, more ringing) from a fingered one. Haydn employed unison bariolage in a number of his works (such as the
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publisher
William Forster, who duly printed the six quartets before Artaria did. Haydn was deceiving both publishers: the offer to Forster was unbeknown to Artaria, while Haydn misled Forster into believing that no one else had been offered the set. Artaria learned of the Forster deal but published the set anyway, in December 1787, as Haydn's Opus 50.
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297:, he adopted a variety of cyclical structures, particularly in the alternate placement of the slow movement as the second or third movement. But in the Opus 50 set, each quartet follows the same fastβslowβminuetβfast sequence. The set is also characterised by a high degree of monothematicism (the use of a single
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and a pair of two-measure pauses to create a sense of timelessness. Neither the minuet nor the trio reaches a proper conclusion, and in this they continue a feature of the first two movements. The minuet ends with a perfunctory reprise of its main theme and the trio draws out its final cadence with a
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Haydn's choice of D major for this quartet, with the second movement in D minor, optimises the use of open strings and allows for the work to be the loudest and most grandiose of the set. The first movement opens peculiarly: the first violin starts on an E, and proceeds to play a four-measure phrase
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The one exception to the compactness of the quartet comes in the minuet. The minuet's first half is a standard 12 measures, but the second half is an unusually long 44 measures and involves harmonic excursions deep into the flat-side keys. The trio echoes the first and fourth movements by commencing
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This is a concise work, in terms of its duration, the economy of thematic material presented, and also the narrow registers within which the four parts operate. The first movement is in 6/8 time and a monothematic sonata form. The development and recapitulation sections feature an example of Haydn's
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The second movement, in F major and marked "adagio cantabile", commences with the statement of the primary theme by the second violin, before it is taken up by the first violin in the ninth measure. The first violin part enjoys a move into a high register in the movement's central section as well as
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Sutcliffe refers to the finale as the "one disappointing movement" of the Opus 50 quartets, arguing that it is "too straightforward structurally", lacks "internal tension", and might have been the product of the composer's rush to finish the work, which was holding up publication of the whole set.
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rondo. Also unconventionally, the second and third so-called variations are separated by an eight-measure free-form passage. The cello enjoys a prominent role throughout the movement, with the viola often substituting as the bass accompaniment. The cello also presents the movement's opening theme.
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With its 2/4 time signature, pulse occurring on the eight notes, and "allegro moderato" tempo, the metre of the first movement is a throwback to an earlier and simpler style of opening movement. It begins with a simple duet between the two violins, before a second subject area that involves rapid
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of A. After a long development section, the recapitulation both arrives and concludes in F-sharp major. Sutcliffe argues that the perfunctory major-key conclusion is not a "happy ending" but an "uneasy truce" that paves the way for the remainder of the quartet, the finale of which concludes in a
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variation is placed immediately after the statement of the theme; normally, the minor mode theme would be held back for later in the movement. The second variation involves very little actual variation, and is closer to a literal re-statement of the theme that one would see in ternary form or a
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The history of the publication of Opus 50 set betrays one of the more remarkable examples of Haydn's financial and commercial impropriety. Haydn hurriedly completed the set by
September 1787, when he sent the fifth quartet to Artaria. Meanwhile, in August, he had offered the set to the English
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The finale completes the interconnectedness of the work with a theme audibly similar to those of the first movement and the minuet and trio. The movement is the most economical of all: the exposition and development commence with nearly identical passages and conclude in exactly the same way.
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set of 1781. While the Opus 33 set was apt for broad public consumption, the Opus 50 set is more serious and experimental. It is perhaps because of the Opus 50's intellectual character that other sets among Haydn's mature quartets have received more attention from performers.
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The second movement, in B-flat major, is in two parts: an exposition and a recapitulation. The first violin plays the leading role throughout, although the movement is characterised by rich textures between the four parts created by compositional devices such as
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at the end of the recapitulation and apparent coda, and is followed by two measures of complete silence, creating an illusion of finality. However, the main theme is then reprised, and the real conclusion to the work follows some 20 measures later.
232:, praising Haydn for the copies of the Paris symphonies that he had sent. The letter enclosed a golden ring. Haydn sought to return the favour by dedicating the Opus 50 set to the King, and Artaria acceded to Haydn's request to do so.
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The relationship of the minuet (in F-sharp major) and the trio (in F-sharp minor) continues the overall tension between major and minor. The minuet features a startling harmonic shift: its second half is suddenly interrupted by a
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The first movement is in 3/4 time, hitherto uncommon among Haydn's opening movements. In this movement, Haydn departs from the monothematic approach that characterises many of his other sonata form movements in the set. The
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The Adagio is in sonata form and presents a single theme. While the exposition modulates to a re-statement of the theme in F major, the recapitulation modulates to D major. The movement ends in that key, pianissimo, with a
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an elaborate solo passage towards the end of the movement. The movement's central section also features a five-measure passage of sixteenth notes for the cello, perhaps specially written for the opus's cellist dedicatee.
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The minuet is in F major, but it is not until well into its second half that a strong chord in the tonic arrives. Once again among the Opus 50 minuets, Haydn is unsettling harmonic conventions. Haydn also toys with
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D-major chord, far remote from the home key, before a chromatic passage leads back to the dominant of C-sharp major. The trio is linked to the minuet by the rhythmic similarities of their opening motifs.
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and, without
Artaria's knowledge, to the English publisher William Forster. Forster published it as Haydn's Opus 44. Haydn's autograph manuscripts for Nos. 3 to 6 of the set were discovered in
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that concludes with a D major chord. The use of a closing phrase to start the movement is the first of a number of unsettling incidents in the movement. The exposition withholds the expected
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sections, illustrating that they are part of the movement's primary thematic material. The melody that follows the eight cello notes echoes Mozart's Violin Sonata K.454 and is echoed in
316:. The set contains a number of striking passages for the cello, including in its opening of the first movement of No. 1 and its leading passages in the slow movements of Nos. 2 and 3.
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enter. The cello's eight throbbing notes act as more than an introduction. They reappear at critical junctures throughout the movement, including at the beginning of the
254:, Australia, for the 250th anniversary of Haydn's birth. After a concert at the festival, a woman presented the manuscripts in a plastic shopping bag to the conductor
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850:), but nowhere is it employed as obsessively as in the Opus 50 No. 6 finale. The sound of unison bariolage has reminded some listeners of a croaking
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sextuplets. The movement continues to feature subtle textural conversation between the violins, viola and cello that is not resolved until the coda.
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The minuet is the shortest among those of the Opus 50, but the trio features an exceptionally long second section, which uses drifting melodies, a
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This is the only quartet of the set in a minor key. Haydn employed F-sharp minor as the home key of only three of his known works: this, his
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757:. The trio follows, and its theme is almost identical to that of the minuet, albeit in a minor key and played by all four parts in unison.
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and trios, Haydn eschews presenting a second and contrasting theme and instead elects to explore the full potential of the primary theme.
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form, with the first theme in A major and the second theme in A minor. Again the movement ends abruptly, with an A-major chord.
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508:(GβEβC) played by the first violin. The trio inverts this opening with an ascending triad (CβEβG) played by the second violin.
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228:. He started work in 1787, composing the first two quartets in February. In April, Haydn received a letter from King
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In 1982, the original autograph manuscripts of the Nos. 3 to 6 of the set were discovered at a festival arranged in
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The form of the second movement, an
Andante in B-flat major, is indefinable. The movement involves elements of a
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set the movement's theme to words, for inscription on a monument honouring Haydn in the composer's home town of
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819:(an explicit direction given by Haydn to avoid too long a pause between the movements) to the D-major minuet.
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1431:"Haydn: String Quartets Op. 50, Nos. 1β3, 'Prussian' (Ibolya Toth/ Kodaly Quartet) (Naxos: 8.553983)"
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The first movement's exposition commences in the tonic of F-sharp minor, before modulating to the
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The second movement continues the major-minor tussle that pervades the work as a whole. It is in
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745:. It is this movement that gives the Op. 50, No. 5 the nickname of "Der Traum", or "The Dream".
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The first movement is in cut common (2/2) time. It starts with the cello, alone, playing eight
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to the dominant almost until the exposition ends. And the movement itself has a tentative
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The finale brings out Haydn's playfulness. The sound effect that predominates is unison
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away from the tonic, or, as in the case of the finale, as a device for inflection.
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presents two clearly distinct themes: the first in the tonic and the second in the
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Haydn conceived of what became the Opus 50 set in a letter to the publishing house
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ending that serves more as a link to the D-minor Adagio than a proper conclusion.
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that builds on motifs presented in the earlier three movements. The musicologist
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on the same B-flat. It is not until the third measure of the movement that the
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movement and a rondo. Unlike a conventional theme and variation movement, the
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towards the end of the minuet: it moves into, and concludes, essentially in
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The opening measure of the minuet, after an upbeat, is a descending C-major
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The set's dedicatee, King
Frederick William II, was a capable amateur
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at key points in each movement, serving at different times to create
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773:, is numbered III/49 in the Hoboken catalogue. Its movements are:
707:, is numbered III/48 in the Hoboken catalogue. Its movements are:
623:, is numbered III/47 in the Hoboken catalogue. Its movements are:
545:, is numbered III/46 in the Hoboken catalogue. Its movements are:
459:, is numbered III/45 in the Hoboken catalogue. Its movements are:
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The fourth movement, in sonata form but with characteristics of a
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Quartet No. 41 in D major ("The Frog"), Op. 50, No. 6, Hob. III/49
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Quartet No. 40 in F major ("Dream"), Op. 50, No. 5, Hob. III/48
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to disrupt what would otherwise be a regular and conventional
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The set was Haydn's first complete set of quartets since the
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408:. Haydn used a similar design for the slow movement of the
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Quartet No. 39 in F-sharp minor, Op. 50, No. 4, Hob. III/47
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Quartet No. 36 in B-flat major, Op. 50, No. 1, Hob. III/44
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in 1784, although he then put the project on hold for the
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Quartet No. 38 in E-flat major, Op. 50, No. 3 Hob. III/46
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within a movement). In a number of movements, including
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1443:"Haydn: String Quartets Op. 50, Nos. 4β6, 'Prussian'"
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Quartet No. 37 in C major, Op. 50, No. 2, Hob. III/45
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515:. It features significant developments of a simple
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289:In Haydn's previous two sets of quartets, the
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1503:"Joseph Haydn (1732β1809): Prussian Quartets"
194:Each of the six quartets in the set has four
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769:The sixth and final quartet of the set, in
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365:The opening measures of the first movement
183:. Haydn sold the set to the Viennese firm
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1565:International Music Score Library Project
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1479:Grave, Floyd; Grave, Margaret (2006).
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43:The Opus 50 set was dedicated to King
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1483:. New York: Oxford University Press.
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395:String Quartet No. 1 (Op. 18, No. 1)
1481:The String Quartets of Joseph Haydn
24:String Quartets, Opus 50 "Prussian"
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619:The fourth quartet of the set, in
455:The second quartet of the set, in
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703:The fifth quartet of the set, in
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324:The first quartet of the set, in
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266:The six quartets in the set are:
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1722:Frederick William II of Prussia
1707:String quartets by Joseph Haydn
1561:String Quartets, Op. 50 (Haydn)
1536:The Faber Pocket Guide to Haydn
1471:Haydn: A Creative Life in Music
693:String Quartet No. 14 (Op. 131)
230:Frederick William II of Prussia
177:Frederick William II of Prussia
119:Frederick William II of Prussia
47:(pictured), who was an amateur
45:Frederick William II of Prussia
16:String quartets by Joseph Haydn
1518:. Cambridge University Press.
1516:Haydn: String Quartets, Op. 50
225:The Seven Last Words of Christ
1:
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723:Tempo di Menuetto: Allegretto
699:Opus 50, No. 5 ("The Dream")
654:Symphony No. 45 ("Farewell")
555:Andante piΓΉ tosto allegretto
328:, is numbered III/44 in the
7:
1514:Sutcliffe, W. Dean (1992).
795:Finale: Allegro con spirito
765:Opus 50, No. 6 ("The Frog")
645:Finale: Fuga, allegro molto
261:
10:
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412:quartet. In 1793 the poet
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1533:Wigmore, Richard (2011).
1474:. New York: W. W. Norton.
639:Menuetto: Poco allegretto
348:Menuetto: Poco allegretto
167:36β41), were composed by
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171:in 1787. The set of six
1415:Grave & Grave 2006
1269:Grave & Grave 2006
1144:Grave & Grave 2006
1105:Grave & Grave 2006
1078:Grave & Grave 2006
1037:Grave & Grave 2006
1008:Grave & Grave 2006
963:Grave & Grave 2006
912:Grave & Grave 2006
900:Grave & Grave 2006
870:Grave & Grave 2006
839:minuet to the finale.
601:upbeat leading to an E
423:The third movement, a
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191:, Australia, in 1982.
175:was dedicated to King
414:Gabriele von Baumberg
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332:. Its movements are:
238:
914:, pp. 222, 243.
789:Menuetto: Allegretto
580:theme and variations
561:Menuetto: Allegretto
481:Finale: Vivace assai
475:Menuetto: Allegretto
1626:Op. 50 ("Prussian")
1539:. Faber and Faber.
1146:, pp. 231β234.
1010:, pp. 226β227.
902:, pp. 222β243.
872:, pp. 222β224.
848:"Farewell" Symphony
295:Opus 33 ("Russian")
256:Christopher Hogwood
240:Christopher Hogwood
1636:Op. 64 ("Tost II")
1621:Op. 33 ("Russian")
1367:, pp. 99β100.
1271:, pp. 229β230
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1712:1787 compositions
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1665:Roman Hoffstetter
1641:Op. 76 ("ErdΕdy")
1307:, pp. 94β96.
1241:, pp. 88β89.
1214:, pp. 87β88.
1202:, pp. 86β87.
1170:, pp. 84β86.
1158:, pp. 81β83.
1063:, pp. 74β75.
1051:, pp. 73β74.
926:, pp. 28β31.
627:Allegro spiritoso
511:The finale is in
330:Hoboken catalogue
181:Prussian Quartets
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1563:: Scores at the
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711:Allegro moderato
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425:minuet and trio
418:Rohrau, Austria
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291:Opus 20 ("Sun")
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1555:External links
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729:Finale: Vivace
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661:relative major
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567:Finale: Presto
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537:Opus 50, No. 3
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529:, to commence
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410:Opus 20, No. 4
387:recapitulation
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354:Finale: Vivace
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1453:on 2020-10-26
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621:F-sharp minor
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1535:
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1455:. Retrieved
1451:the original
1423:
1422:
1382:Wigmore 2011
1360:
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1300:
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682:
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584:ternary form
577:
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543:E-flat major
540:
510:
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487:
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433:triple metre
422:
399:
368:
326:B-flat major
323:
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169:Joseph Haydn
152:
150:
31:Joseph Haydn
18:
996:Holman 1994
977:, pp.
783:Poco adagio
717:Poco adagio
664:minor key.
513:sonata form
383:development
303:sonata form
163:III/44β49,
1701:Categories
1659:Spurious:
1525:0521399955
1490:0195346645
1457:2014-12-21
1384:, p.
1187:, p.
887:, p.
858:References
833:diminuendo
809:pianissimo
755:duple time
677:fortissimo
588:minor mode
531:modulation
527:dissonance
491:exposition
429:sforzandos
115:Dedication
1281:Naxos 4β6
1132:Naxos 1β3
844:bariolage
829:chromatic
391:Beethoven
252:Melbourne
196:movements
189:Melbourne
125:Published
94:Classical
66:III/44β49
57:Catalogue
1501:(1994).
1468:(1946).
837:reprised
604:♭
598:♭
595:with a B
522:♯
495:dominant
262:Overview
173:quartets
100:Composed
1424:Sources
979:253β254
824:fermata
805:cadence
777:Allegro
771:D major
705:F major
633:Andante
457:C major
375:violins
336:Allegro
314:cellist
307:minuets
242:in 2014
216:Artaria
210:History
203:Opus 33
185:Artaria
140:Scoring
130: (
105: (
49:cellist
1677:Portal
1631:Op. 51
1543:
1522:
1487:
463:Vivace
159:. 50 (
1661:Op. 3
817:segue
751:metre
685:fugue
517:motif
506:triad
444:tonic
440:rondo
379:viola
299:theme
90:Style
72:36β41
1663:(by
1541:ISBN
1520:ISBN
1485:ISBN
852:frog
406:coda
385:and
377:and
293:and
222:and
161:Hob.
151:The
132:1787
128:1787
107:1787
103:1787
81:Opus
64:Hob.
1603:by
1386:197
1189:195
889:194
393:'s
29:by
1703::
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1407:^
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877:^
607:.
497:.
435:.
420:.
397:.
165:L.
157:Op
155:,
85:50
70:L.
1679::
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1586:t
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134:)
109:)
51:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
