Haydn: String Quartets

18,50

1 SACD 

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Praga Digitals

11 Δεκεμβρίου 2020

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Franz Joseph Haydn:String Quartet, Op. 33 No. 1 in B minorString Quartet, Op. 33 No. 4 in B flat majorString Quartet, Op. 33 No. 6 in D majorString Quartet, Op. 42 in D minor

Καλλιτέχνες

Párkányi Quartet (String Quartet)

Experimental chamber music

Already in his first position as bandmaster of a tiny orchestra with Count Morzin, Joseph Haydn, as a young man of about 25, developed his first invention from the forms of the Baroque trio sonata and the early classical divertimento, for which he could apply for a patent according to modern copyright ideas: the string quartet

Throughout his life he has remained true to this genre and has developed it to a perfection that any composer who wrote string quartets after Haydn could not fail to respect. However, colleagues such as Gregor Joseph Werner, Haydn’s predecessor with Prince Esterházy, or Johann Georg Albrechtsberger, the famous organist and later Kapellmeister at St. Stephen’s Cathedral in Vienna, also experimented with the new chamber music form, often in a certain old-fashioned setting, where they were able to show off their skills in the time-honoured fugue form

In 1782 Wolfgang Amadeus Mozart also made a transcription of five fugues from J. S. Bach’s Well-Tempered Clavier for string quartet, a work within the framework of a research project on older music, to which his conservative patron and friend, Baron van Swieten, had inspired him and in which the young wife Constanze, very wrongly mocked for a long time as the silly one at Mozart’s side, enthusiastically took part

Haydn himself resumed his work on the string quartet genre in the early 1780s with the pieces op. 33 after a ten-year hiatus; now the genre would not let him go for the rest of his life – he worked unceasingly on perfecting it. Haydn’s quartets op. 33 had a lasting influence on Mozart, who, by his own admission, owes his art in writing string quartets to Joseph Haydn. He dedicated a series of string quartets to his friend with a grateful preface in which he described the pieces as “the fruit of long and arduous work”. Joseph Haydn returned the compliment when, at the end of a private chamber music evening in Vienna in 1785, he said to father Mozart during his visit to Vienna: “I say to you before God, as an honest man, your son is the greatest composer I know by person and name”