I. Presto
II. Menuetto - Trio
III. Largo
IV. Presto
Haydn's String Quartets Op.17 were written in 1771 during a highly productive period, whilst in the service of the Esterházys. The six quartets of the set were written with virtuoso violinist, Luigi Tomasini, in Haydn's thoughts and the music reflects this. Writers such as Birson talk of the huge influence of these quartets “If
these quartets did not provide direct models for the music of these later
composers, they at least proved to be lessons in composition” for Mozart,
Beethoven, and Schubert, among others."
Ive already blogged my favourite of the set but this is also a damn fine, underappreciated work, too that you should get to know.
The 1st movement is intriguing from the off as it's a lively, playful Presto where the first violin leads, accompanied by viola and cello with the second violin as a counterweight. This almost echoes the first movement of the op.9 quartets where there's a chase-like quality to the music but this time it's harmonically more adventurous (similarly Haydn later used this harmonic variety in the op.20/6 first movement). The 2nd movement is a rather old-fashioned, sedate and sweet (but never plain) Minuet where the quirky Trio offers a different experience with the first violin playing quavers. The lyrical 3rd movement, Largo, begins with a held note and offers a fine contrast and more interesting writing as there's firm semiquaver accompaniment. Towards the end Haydn even throws in a cadenza for the first violin. For the finale Haydn gives us another Presto here but this one has a gypsy music feel (I love those short, little bucolic passages), some breakneck exchanges and introduces the type of bariolage he later used in the Frog Quartet. The music is busy, frisky and occasionally abandoned before it all ends surprisingly and pianissimo, ending using an inverted two-note figure from the theme. Yet again Haydn's wit is firmly on show in this lovely and highly engaging piece.
Quite surprisingly there are very few recordings of this fine quartet so I'll get to them all below except a rather rare 4 For Haydn recording, from 2009.
3rd Tier
Angeles - the American Quartet's rather humourless approach doesn't resonate with me at all. Possibly the weakest of the recordings I listened to.
Schneider - whilst the mono recorded sound isn't great, at least the Schneider play at a decent clip, this time, and infuse the music with plenty of gemütlich charm.
Tatrai - plenty of dodgy intonation throughout this one let's it down, I'm afraid. A shame as structurally it's just right and paced well. You can do much better, though.
Aeolian - they're a little bit conservative with their speeds but they do find the wit in the score, even if their music doesn't flow as easily as others. Easily the best from this section and almost in the list below.
2nd Tier
Kodaly - plenty of wit in this homogenous, light and airy account. The recording is a little reverberant but not unduly so and you have to admire the Kodaly's fine textures.
Dekany - the more I listen to the Dekany set the more I have to admire their sheer enjoyment of their ensemble playing. They may not be the most cultured but they play with relish and bravado.
Leipziger - beautifully phrased, played and recorded. The Leipziger play em this rather straight and a little more eloqience would have meant this was jostled in amongst the best but it's still quite divine.
Top Tier (very impressive)
Festetics - like the Buchberger effort (below) the Festetics don't hang around in a witty opening movement. Tonally they are hugely impressive and really capture the spirit of this lovely piece, throughout. Fine phrasing.
London Haydn Quartet - how nice to be singing the praises of the LHQ for once, in this enchanting effort. Outer movements are superbly done in a recording that feels fresh, free and easy with a nicely curvaceous form. Impressive.
Buchberger - some might feel that the Germans are a bit too brisk in the opening movement and I might accept that (even if I don't agree) but they are so engaging and earnest throughout that even if that opening seems a bit giddy you will be won over by their engagement and finely graded dynamics elsewhere. The slow movements are especially lucid.
Auryn - one where the whole thing just works collectively and feels cohesive. The outer movements are well-pointed and paced whilst the inner movements sing beautifully with a lovely, warm but never excessive vibrato. Some of the violin playing, in particular, is just gorgeous. Tacet's sound is, as usual, full and clear.
www.talkclassical.com
II. Menuetto - Trio
III. Largo
IV. Presto
Haydn's String Quartets Op.17 were written in 1771 during a highly productive period, whilst in the service of the Esterházys. The six quartets of the set were written with virtuoso violinist, Luigi Tomasini, in Haydn's thoughts and the music reflects this. Writers such as Birson talk of the huge influence of these quartets “If
these quartets did not provide direct models for the music of these later
composers, they at least proved to be lessons in composition” for Mozart,
Beethoven, and Schubert, among others."
Ive already blogged my favourite of the set but this is also a damn fine, underappreciated work, too that you should get to know.
The 1st movement is intriguing from the off as it's a lively, playful Presto where the first violin leads, accompanied by viola and cello with the second violin as a counterweight. This almost echoes the first movement of the op.9 quartets where there's a chase-like quality to the music but this time it's harmonically more adventurous (similarly Haydn later used this harmonic variety in the op.20/6 first movement). The 2nd movement is a rather old-fashioned, sedate and sweet (but never plain) Minuet where the quirky Trio offers a different experience with the first violin playing quavers. The lyrical 3rd movement, Largo, begins with a held note and offers a fine contrast and more interesting writing as there's firm semiquaver accompaniment. Towards the end Haydn even throws in a cadenza for the first violin. For the finale Haydn gives us another Presto here but this one has a gypsy music feel (I love those short, little bucolic passages), some breakneck exchanges and introduces the type of bariolage he later used in the Frog Quartet. The music is busy, frisky and occasionally abandoned before it all ends surprisingly and pianissimo, ending using an inverted two-note figure from the theme. Yet again Haydn's wit is firmly on show in this lovely and highly engaging piece.
Quite surprisingly there are very few recordings of this fine quartet so I'll get to them all below except a rather rare 4 For Haydn recording, from 2009.
3rd Tier
Angeles - the American Quartet's rather humourless approach doesn't resonate with me at all. Possibly the weakest of the recordings I listened to.
Schneider - whilst the mono recorded sound isn't great, at least the Schneider play at a decent clip, this time, and infuse the music with plenty of gemütlich charm.
Tatrai - plenty of dodgy intonation throughout this one let's it down, I'm afraid. A shame as structurally it's just right and paced well. You can do much better, though.
Aeolian - they're a little bit conservative with their speeds but they do find the wit in the score, even if their music doesn't flow as easily as others. Easily the best from this section and almost in the list below.
2nd Tier
Kodaly - plenty of wit in this homogenous, light and airy account. The recording is a little reverberant but not unduly so and you have to admire the Kodaly's fine textures.
Dekany - the more I listen to the Dekany set the more I have to admire their sheer enjoyment of their ensemble playing. They may not be the most cultured but they play with relish and bravado.
Leipziger - beautifully phrased, played and recorded. The Leipziger play em this rather straight and a little more eloqience would have meant this was jostled in amongst the best but it's still quite divine.
Top Tier (very impressive)
Festetics - like the Buchberger effort (below) the Festetics don't hang around in a witty opening movement. Tonally they are hugely impressive and really capture the spirit of this lovely piece, throughout. Fine phrasing.
London Haydn Quartet - how nice to be singing the praises of the LHQ for once, in this enchanting effort. Outer movements are superbly done in a recording that feels fresh, free and easy with a nicely curvaceous form. Impressive.
Buchberger - some might feel that the Germans are a bit too brisk in the opening movement and I might accept that (even if I don't agree) but they are so engaging and earnest throughout that even if that opening seems a bit giddy you will be won over by their engagement and finely graded dynamics elsewhere. The slow movements are especially lucid.
Auryn - one where the whole thing just works collectively and feels cohesive. The outer movements are well-pointed and paced whilst the inner movements sing beautifully with a lovely, warm but never excessive vibrato. Some of the violin playing, in particular, is just gorgeous. Tacet's sound is, as usual, full and clear.
Merl's Blogged String Quartet and String Quintet...
As some of you are aware I started blogging my recommended string quartet recordings a while back as I didn't want to lose them in the Weekly String Quartet thread. However, blogging on TC has many limitations and there was no way to link all my posts in one place without the page disappearing...
www.talkclassical.com
