Discussion On The Unusual Form Of the Finale Of Haydns Op.54, no.2
The three caravan Quartets that make up Haydns Op.54 were probably written for the virtuoso violonist Johann Tost , and argon therefore widely known as the Tost Quartets. A gambol common to all three of the quadruples is the difficult writing of the outgrowth violin part.
A specific debate of concern arises when we look at the coating of the C Major Quartet, No. 2 of Op.54. It appears to be unusual in all senses: it closes and opens with an adagio (which still endure be heard as an introduction at the beginning), has a very curious key change scheme , and leads the meeter through a hard-to-predict series of events metrically as well as key-wise: scattered grand pauses and fermatas appear as connectors in the sub- motilitys . However, it still serves in its unique way of formal construction, towards a successful or a satisfying conclusion of the quartet. Or does it?
The purpose of the discussion in this paper is to: 1) shed a light on the relationship between the first, second and one-third movements and the finale through a formal examination of the movement and explain how relevant a closer it is for the whole quartet;
2) give an objective account of the typical finales we have encountered in the course so far, and compare and contrast the expectations from a Haydn finale with what we are presented with in Op.
54;
3) provide a subjective earn of how this atypical conclusion can/cannot work from a moderne listeners perspective.
General Form and Characteristics Relating to Finale
Specifically, as the third of the seven great Quartets that Haydn wrote in the key of C, this quartet follows a quite unique course : following a regular sonata form first...
very useful for determination minute students :) (grin grin) the haydn database in other places doesnt help much!
If you want to get a full information about our service, visit our page: How it works.
No comments:
Post a Comment