The String Quartets of Joseph Haydn

393 Pages·2006·5.48 MB·English

by  Floyd Grave

The String Quartets of Joseph Haydn
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The String Quartets of
Joseph Haydn
Floyd Grave and Margaret Grave
1
2006
3
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Library of Congress Cataloging-in-Publication Data
Grave, Floyd K. (Floyd Kersey), 1945–
The string quartets of Joseph Haydn / Floyd and Margaret Grave.
p. cm.
Includes bibliographical references (p. ) and index.
ISBN-13978-0-19-517357-4
ISBN0-19-517357-0
1. Haydn, Joseph, 1732–1809. Quartets, strings. 2. String quartet.
I. Grave, Margaret G., 1943– II. Title.
ML410.H4G692006
785(cid:1).7194(cid:1)092—dc22 2005047784
1 3 5 7 9 8 6 4 2
Printed in the United States of America
on acid-free paper
For Jean Bonin
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Acknowledgments
Our research, which in its late stages was assisted by a Rutgers University Fac-
ulty Academic Study Program Award (2002), was guided from its inception by
an unlimited supply of encouragement and advice from Jan LaRue. His methods
provided a foundation for our critical approach, and his fine-tuned sensitivity
to the stylistic nuances of Haydn’s music was an ongoing source of inspiration.
To Bathia Churgin we likewise owe a debt of deepest gratitude. Her musicologi-
cal expertise and analytical insights, not to mention tireless moral support, have
aided our work in more ways than can possibly be enumerated. Thanks also are
due to the Rutgers University music librarians past and present—Roger Tarman,
Harriet Hemmasi, Cynthia Levy, and John Shepard—for their invaluable assis-
tance over the years; to Georg Feder, Armin Raab, and Denis McCaldin for their
prompt and helpful responses to our inquiries; to James Webster for kindly
supplying detailed information on the autograph manuscripts of the Op. 50quar-
tets; and to the editors and editorial staff at Oxford University Press—Kim Robin-
son, Suzanne Ryan, Christine Dahlin, Eve Bachrach, and Norm Hirschy—whose
enthusiasm, patience, and guidance proved essential at every step of the process.
Others who have supported our work in less concrete but nonetheless important
ways include Channan Willner, always a source of shrewd and timely assistance,
by no means exclusively in theoretical and bibliographical matters, and Alex
Szo¨gyi and Philip Thompson, whose interest and professional wisdom have
heartened the journey toward this book’s completion.
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Contents
Introduction 3
Part I: Points of Departure
1 The Repertory 9
2 Genre and Character 21
3 Texture, Ensemble Technique, and Sonority 34
Part II: Formal Perimeters
4 Sonata Form 49
5 The Dance Movement 76
6 Variation 96
7 Other Forms: Fugue, Rondo, and Miscellaneous
Nonstandard Designs 116
Part III: The Opus Groups
8 The Earliest Quartets (ca. 1755–60[?ca.1757–59]):
Op.0; Op. 1Nos.1,2,3,4, and 6; Op. 2
Nos.1,2,4, and 6 137
9 Op.9(ca.1768–70) and Op. 17(1771) 156
10 Op.20(1772) 177
11 Op.33(1781) and Op. 42([?1784–]1785) 199
12 Op.50(1787) 222
13 Op.54/55(1788) 244