I. Allegro
II. Adagio
III. Menuetto. Poco allegretto - Trio
IV. Finale. Vivace
Written in 1787, Haydn dedicated his op.50 set to the music-loving, amateur cellist King Friedrich Wilhelm of Prussia.
The first of the set is an interesting and minimalist one as Haydn, once again, creates a lot from pieces of source material. The 1st movement opens with the repetitive 'drum' cello (this was surely done to please the King) throbbing along . Soon the other instruments join in but instead of launching into a trademark Haydn melody we are left with scattergun cadences (tight, brief phrases) and are left to admire the scaffolding of the piece as the repetitive cello dips in and out, continuing to underpin proceedings with its incessant ostinato as if nurturing, shaping and guiding the other instruments through Haydn's intriguing soundworld. Things are only resolved in the coda, when that opening cadence acts as an ending, accompanied by some lovely harmony. I've got to admit being a huge fan of this fascinating movement and am constantly impressed by Haydn's invention.
The 2nd movement, adagio is more recognisably Haydn: a set of variations on a stately, graceful theme. Perhaps with the 1st movement in mind Haydn keeps it simple but still manages to mix things up using a six bar period theme. Harmony is key to the pair of variations with one consisting of charming dialogue between the 1st and 2nd violins and operatic in nature and the other more wistful with greater engagement from the cello. Here the the second half of the theme is condensed from six to five bars. The movement became so popular that in 1793 it was engraved on Haydn’s monument in his home town of Rohrau.
The 3rd movement Minuet hints at the adagio and is full of Haydnesque charm. It's fairly standard minuet fare from the composer but with constant change of register and skilfully harmonized. The trio provides good contrast, with its twinkling, descending violin line until the end of the trio when Haydn injects it with cheeky "hiccuping eighth-beats" in syncopation. Finally the main theme of the minuet returns.
The Vivace finale movement opens with an arpeggio to launch into high-energy fun. There's lots of contrapuntal dialogue between the instruments (call and response, interruptions, pauses and bursts of additional energy) and fugato. This is classic Haydn with additional sighing figures and a violin cadenza that goes off on a tangent then returns. After a couple of fake endings the mischievous Haydn concludes the movement in triumphant style.
As I said earlier, this is a big favourite of mine, due to the outer movements, but there's not a misstep in the entire work making it another that I return to often. The good news is that NO-ONE messes it up (not even the often dull Schneider) and there are many, many exceptionally fine recordings that are difficult to split (the margins between the top group here is negligible - hence the large number of recordings in that section). Apart from the Edinburgh Quartet's 1963 recording, I heard all the rest. If I've missed any then let me know.
Rec
Schneider
Vienna Konzerthaus
Aeolian
Sofia
Well rec
Angeles - very good but the Angeles only move out of safer Papa Haydn territory in a fine finale. Better than the list above but just scraping into this group.
Festetics - Texturally and harmonically impressive and well recorded. Ensemble is tight and the Festetics handle the contrapuntal passages particularly well.
Salomon - the English quartet concentrate on the harmonic structure especially in a relaxed opening Allegro. Perhaps more zip is needed in the finale but this is still well worth investigating.
London Haydn - yay, at last the English quartet get one right! Cracker of an opening Allegro and but for a not vivacious enough vivace this would be even higher.
Amati - very classical in style but also very assured. The Amati cope very well with contrapuntal sections and reveal Haydn's structures delightfully if a little too restrained at times. Still a lovely recording and of great appeal to those who wish to hear a more refined style of Haydn playing.
Auryn - beautifully played and shaped. More strength would have been welcome but there's little to quibble about.
Lindsays (live) - this live at the Genius of Haydn effort would be higher but for the very uneven recorded balances, that spoil my enjoyment a little. They are a more urgent in the first movement than in the studio but don't quite capture my heart.
Revolutionary Drawing Room - thoroughly immersive period performance. One that pleasantly surprised me. The adagio is a too slow and deliberate, for me, but elsewhere I love their engaging and committed, close period sound. This may end up higher.
Tokyo (1974) - as imaginatively played and keenly phrasing as it is, I've never quite got over my slight concerns about the two central movements for this one. The adagio is good but drags and I've never been overly enamoured with their minuet, at all. Still loads to admire but others are more interesting. A remaster wouldn't go amiss either as DG's flat sound is showing its age.
Hugely rec
Kodaly - moderately paced but fuller sound. Much better than some of their performances in this opus and a strong opening and quite delicious slow movement set things up well.
Buchberger - if you can handle their pretty rapid pace in the openinh allegro (it is an allegro after all) then you will enjoy this. Surprisingly the finale isn't as blisteringly fast as you'd expect and there's some well-pointed phrasing throughout.
Leipziger - texturally the Germans show their mettle with a reading that's rich and warm. As you can imagine, the intonation, phrasing and recorded sound are perfect.
Zaide - regular readers to this blog know I rate the Zaide op.50 set highly and this fine reading continues with the high quality. Quite restrained for the Zaide but no less impressive.
Lindsays (studio) - such an articulate and colourful recording performance, the British quartet are fluid and wellgpoised throughout, never rushing or being over-mannered.
Fine Arts (1968) - the late 60s sound is a bit thin and wiry in places but the playing is always assured, constantly demands to be heard and is of a very high quality. Their pacing of the minuet is immense, making this a self-recommending recording. So enjoyable.
Tatrai - perfectly paced, the Tatrai sound like they're having a ball playing this one. I have this set and this has always been a go-to from it. Nothing has ever changed my mind in the many years I've owned it.
Modigliani - invigorating and tight ensemble between 1st and 2nd violin in the Allegro. Mirare capture this fine quartet in a close acoustic that can leave them a little exposed in the adagio but that's a small issue. The vivace is taken at a good, brisk pace and rounds this account out very well.
Wow
Nomos - I was a bit reticent to choose a top recording but in this strongly characterised and beautifully colourful account, the Nomos just sound 'right' from start to finish. The playing in the finale is just wonderful and at times mesmeric and they capture Haydn's wit throughout. So good I've returned to this twice since. Terrific.
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II. Adagio
III. Menuetto. Poco allegretto - Trio
IV. Finale. Vivace
Written in 1787, Haydn dedicated his op.50 set to the music-loving, amateur cellist King Friedrich Wilhelm of Prussia.
The first of the set is an interesting and minimalist one as Haydn, once again, creates a lot from pieces of source material. The 1st movement opens with the repetitive 'drum' cello (this was surely done to please the King) throbbing along . Soon the other instruments join in but instead of launching into a trademark Haydn melody we are left with scattergun cadences (tight, brief phrases) and are left to admire the scaffolding of the piece as the repetitive cello dips in and out, continuing to underpin proceedings with its incessant ostinato as if nurturing, shaping and guiding the other instruments through Haydn's intriguing soundworld. Things are only resolved in the coda, when that opening cadence acts as an ending, accompanied by some lovely harmony. I've got to admit being a huge fan of this fascinating movement and am constantly impressed by Haydn's invention.
The 2nd movement, adagio is more recognisably Haydn: a set of variations on a stately, graceful theme. Perhaps with the 1st movement in mind Haydn keeps it simple but still manages to mix things up using a six bar period theme. Harmony is key to the pair of variations with one consisting of charming dialogue between the 1st and 2nd violins and operatic in nature and the other more wistful with greater engagement from the cello. Here the the second half of the theme is condensed from six to five bars. The movement became so popular that in 1793 it was engraved on Haydn’s monument in his home town of Rohrau.
The 3rd movement Minuet hints at the adagio and is full of Haydnesque charm. It's fairly standard minuet fare from the composer but with constant change of register and skilfully harmonized. The trio provides good contrast, with its twinkling, descending violin line until the end of the trio when Haydn injects it with cheeky "hiccuping eighth-beats" in syncopation. Finally the main theme of the minuet returns.
The Vivace finale movement opens with an arpeggio to launch into high-energy fun. There's lots of contrapuntal dialogue between the instruments (call and response, interruptions, pauses and bursts of additional energy) and fugato. This is classic Haydn with additional sighing figures and a violin cadenza that goes off on a tangent then returns. After a couple of fake endings the mischievous Haydn concludes the movement in triumphant style.
As I said earlier, this is a big favourite of mine, due to the outer movements, but there's not a misstep in the entire work making it another that I return to often. The good news is that NO-ONE messes it up (not even the often dull Schneider) and there are many, many exceptionally fine recordings that are difficult to split (the margins between the top group here is negligible - hence the large number of recordings in that section). Apart from the Edinburgh Quartet's 1963 recording, I heard all the rest. If I've missed any then let me know.
Rec
Schneider
Vienna Konzerthaus
Aeolian
Sofia
Well rec
Angeles - very good but the Angeles only move out of safer Papa Haydn territory in a fine finale. Better than the list above but just scraping into this group.
Festetics - Texturally and harmonically impressive and well recorded. Ensemble is tight and the Festetics handle the contrapuntal passages particularly well.
Salomon - the English quartet concentrate on the harmonic structure especially in a relaxed opening Allegro. Perhaps more zip is needed in the finale but this is still well worth investigating.
London Haydn - yay, at last the English quartet get one right! Cracker of an opening Allegro and but for a not vivacious enough vivace this would be even higher.
Amati - very classical in style but also very assured. The Amati cope very well with contrapuntal sections and reveal Haydn's structures delightfully if a little too restrained at times. Still a lovely recording and of great appeal to those who wish to hear a more refined style of Haydn playing.
Auryn - beautifully played and shaped. More strength would have been welcome but there's little to quibble about.
Lindsays (live) - this live at the Genius of Haydn effort would be higher but for the very uneven recorded balances, that spoil my enjoyment a little. They are a more urgent in the first movement than in the studio but don't quite capture my heart.
Revolutionary Drawing Room - thoroughly immersive period performance. One that pleasantly surprised me. The adagio is a too slow and deliberate, for me, but elsewhere I love their engaging and committed, close period sound. This may end up higher.
Tokyo (1974) - as imaginatively played and keenly phrasing as it is, I've never quite got over my slight concerns about the two central movements for this one. The adagio is good but drags and I've never been overly enamoured with their minuet, at all. Still loads to admire but others are more interesting. A remaster wouldn't go amiss either as DG's flat sound is showing its age.
Hugely rec
Kodaly - moderately paced but fuller sound. Much better than some of their performances in this opus and a strong opening and quite delicious slow movement set things up well.
Buchberger - if you can handle their pretty rapid pace in the openinh allegro (it is an allegro after all) then you will enjoy this. Surprisingly the finale isn't as blisteringly fast as you'd expect and there's some well-pointed phrasing throughout.
Leipziger - texturally the Germans show their mettle with a reading that's rich and warm. As you can imagine, the intonation, phrasing and recorded sound are perfect.
Zaide - regular readers to this blog know I rate the Zaide op.50 set highly and this fine reading continues with the high quality. Quite restrained for the Zaide but no less impressive.
Lindsays (studio) - such an articulate and colourful recording performance, the British quartet are fluid and wellgpoised throughout, never rushing or being over-mannered.
Fine Arts (1968) - the late 60s sound is a bit thin and wiry in places but the playing is always assured, constantly demands to be heard and is of a very high quality. Their pacing of the minuet is immense, making this a self-recommending recording. So enjoyable.
Tatrai - perfectly paced, the Tatrai sound like they're having a ball playing this one. I have this set and this has always been a go-to from it. Nothing has ever changed my mind in the many years I've owned it.
Modigliani - invigorating and tight ensemble between 1st and 2nd violin in the Allegro. Mirare capture this fine quartet in a close acoustic that can leave them a little exposed in the adagio but that's a small issue. The vivace is taken at a good, brisk pace and rounds this account out very well.
Wow
Nomos - I was a bit reticent to choose a top recording but in this strongly characterised and beautifully colourful account, the Nomos just sound 'right' from start to finish. The playing in the finale is just wonderful and at times mesmeric and they capture Haydn's wit throughout. So good I've returned to this twice since. Terrific.
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
