Haydn Classic Period Op 74 Nos 1 2 3 Griller String Quartet Vinyl LP Record VG+

Description: Yes we combine shipping for multiple purchases.Add multiple items to your cart and the combined shipping total will automatically be calculated. 1973 Haydn Classic Period Op 74 Nos 1 2 3 Griller String Quartet Vinyl LP Record VG+ Record Grade per Goldmine Standard: VG+ Joseph Haydn – Classic Period Haydn: Quartets Op. 74 Nos. 1, 2, 3 Period VII. THE CLASSIC PERIODCategory A. Franz Joseph HaydnSub-category 3. Chamber MusicComposer: Franz Joseph Haydn (1732-1809)JVorAs: Quartet in C Major, Op. 74, No. 1Allegro moderate . Andantino grazioso . Mendetto (Allegretto) . PrestoQuartet in F Major, Op. 74, No. 2Allegro spirituoso . Andante grazioso . Menuetto (Allegro) . PrestoQuartet in G Minor, Op. 74, No. 3Allegro . Largo assai . Menuetto (Allegretto) . Allegro con brioArtists: The Griller String QuartetSidney Griller, leader .Jack O’Brien, second violinPhilip Burton, viola . Colin Hampton, ’celloJ|'here are many reasons for supposing Op. 71 and Op. 74 tocomprise a unit. For one thing, they were both dedicated to thesame person (a Count Antoine d’Apponyi); for another (and thisis much more important) all six share certain striking stylisticfeatures. Each, for example, opens with a brief preface before thefirst subject is pronounced. The matter stands so manifest, that withlittle comment the Hoboken Haydn Verzeichnis simply lists thequartets in the two sets as they out to be listed i.e. as a singleunit of six.By sundering the Haydn series into two separate sets, each withits own opus number, an imbalance in distribution inadvertency, occurred; for the two “strong” quartets, the fifth and the sixth, bothappeared in the second set (Op. 74 Nos. 2 and 3). The quartets thatremain in Op. 71 are the quieter masterpieces, scaled to comparabledimensions, and in their own way as richly satisfying, as the twocommanding works which have given the Op. 74 set its greaterreputation. In supposing the six quartets to be a single unit, the threequartets in Op. 74 are a continuation of the three contained in Op. 71.The fourth of the series (Op. 74 No. 1) assumes the level alreadyreached in Op. 71 No. 3; the fifth (Op. 74 No. 2) is the high pointof “strong” string quartet tone and subject matter, almost symphon-ically so in the context of what is customary in most of 18th centurychamber music. The sixth and last (Op. 74 No. 3) is the most brilliantof all, as befits its position in the series. It is a fiery and exhilaratingclimax to the setIncidentally, these quartets would have been among Haydn’s recentwork available to young Beethoven at the time he was studying withHaydn in Vienna. If Beethoven knew these works, they may haveconstituted for him more valuable instruction than Haydn in personseems to have provided. The F major and the G minor (Op. 74Nos. 2 and 3 respectively) are quartets already attuned somewhatto young Beethoven’s personality. Perhaps Beethoven studied themwith profit, although it would be nice to think that he read all sixwith patience and pleasure.Quartet in C major, Op. 74 No. 1The preface to the first movement is a sustained chord (dominantseventh) resolved by an abrupt one (tonic) and then a prolongedsilence. The duration both of the initial chord and of the silencefollowing its resolution are at the discretion of the performers. Effec-tively this preface does two things simultaneously and with a sim-plicity that has long departed this world. It establishes the tonicsecurely, and by a preemptory gesture secures attention. The subjectthat follows is indeed worth listening to, both for its own sake andfor the reason that it is to be the main thread of the movement. Itis a warm subject; its harmonies, in an 18th century sense, sensuous.Its rising and falling is as a band of sound (three upper instruments)at times consonant with, at times dissonant to the tonic pedal (’cello)over which it moves. All other material in the movement serves bycontrast to give significance to the several reappearances of the firstsubject. Brilliance and vigor are ensured through figurations moreor less conventional. When the main subject reappears, it brings withj it the stillness, the privacy of feeling, the sense of the life within’’ so intrinsic to chamber music. Toward the close (some fifty measuresfrom the end) this subject is given a new assertiveness in a series ofclosely staggered entrances. At the very close, it is finally pronounced(in unison) with vigor and with majesty.The slow movement, one of Haydn’s gracious utterances, moves* with ease and hence not too slowly. Customarily one thinks of atone colorist in terms of a romantic symphonist like Berlioz. But!- Haydn’s chamber music has its own color spectrum, and for all oft the delicacy of gradation, the range is enormous. In this movementthere is a neat color device all the more effective for the tactfulnesswith which it is handled: an octave pedal maintained in the violapart, while alternate color pairings (two violins together, and thensecond violin and ’cello) „ weave around it. Later, some fifty oddmeasures before the end, the octave pedal moves to the second violinpart, and new color pairings result (first violin and viola together,and then viola and ’cello). Thus as the movement moves quietlytowards its close, the pedal rises to a lighter instrument and thecolor pairings grow darker.The Menuetto has attracted some attention among Haydn scholarsfor "the clue it offers to his new harmonic ideas. While this must be ex-pressed in technicalities, the point is nevertheless the impact uponthe ear. In effect, the technicalities have to do with the enlargementof the range of key relationships for a movement of this type. TheMenuetto is in C major, the Trio in A major, a few stages moredistant than one would off-hand anticipate. Witbin the Menuettoitself, the first section opens in C major, closes emphatically enoughwhere one supposes it will, in the dominant (G major). But, aftera two beat pause, the second section opens quietly in the remotetonal territory of A-flat major, rises dramatically through b-flat minorand C minor, and eventually makes its way back to home ground(C major). Considering the wide harmonic range of so short amovement, Haydn apparently decided that a point must be made ofthe home key, for whenever he gets to it, he asserts it with especialemphasis. It is difficult to know how effectively such technicalitiesstill register on the 20th century ear; but key strategy was basic toa composer of Haydn’s generation, and the especial quality of thismovement is not separable from his inventiveness and boldness inthis regard.The finale raises no problems. It has gaiety, bite and above all,verve. And it abounds, if one looks closely, in sheer string quartetknow-how, the fundamental kind that will always make the laterHaydn quartets a fine training ground for any performer or com-poser in.this field.Quartet in F major, Op. 74 No. 2The F major quartet opens with a unison preface fit for a sym-phony. The first subject, closely modeled upon the introduction,retains its exuberance but dispenses with its preemptory manner. Asin the previous quartet, there are surprises in the matter of keyrelationships. Thus after the tonic key (F major) has been confirmedin the first statement of the first subject, a prolonged pause ensues.And then suddenly the theme leaps out boldly in an entirely unex-pected key (G minor). There.are lighter moments by way of contrast,but a certain nervous energy propels the movement along. This isthe fifth quartet in the series, and by now Haydn has moved someconsiderable distance from the finely spun intimacies of the firstquartet (Op. 71 No. 1). In this work (Op. 74 No. 2) the openingmovement is directed with muscular and, at times, with genuinelydramatic force.The andante that follows is scaled to size and has long been recog-nized as one of his profoundest creations. It is here, as analogouslyin his later symphonies, that we find the slow movement emerging asthe emotional center of gravity in a large scale design. The Menuetto(F major) is forceful, high spirited and, at moments, angular. Bycontrast, there is a strangeness in the mild Trio, for it appears softlyand suddenly in a distant key (D-fiat).The finale (presto) is a study in chiaroscuro. The first eight meas-ures, and their repetition, are high, scored for just the upper threeinstruments. The next six measures (for all four) are suddenly low.The movement is enveloped in a brilliant scattering of bright sonor-ities, but thrice this exuberance is interrupted for a lovely progres-sion of soft, low, velvety string sound moving over a throbbingpedal in the ’cello part. It is characteristic of Haydn that he shouldchose to make luscious and somewhat mysterious sounds amid suchgiddy surroundings. Sometimes this is referred to as his “kittenish”manner; but the word is really quite inept for, despite some mythologyto the contrary, Haydn is not at all a coy or cute composer. Ifanything, this movement is reminiscent of that interesting gleam thatlooks out at us from some of his portraits, and “kittenish” is hardlythe word for it.rp Quartet in G Minor, Op. 74 No. 3-L his quartet is easily the most widely performed and the bestknown in the series of Op. 71 and Op. 74. Commonly, it is referredto as the Rider Quartet or the Horseman Quartet, the title havingbeen suggested, it would ’seem, by the bumpy and rather rambunctiouspreface to the first movement, as well as by the bouncing syncopationsand the brilliant take-off of the finale. A lesser known quartet warrantsmore studied comment, but here the listener encounters an oldfavorite.As in any great Haydn quartet, the essential personality emergesfrom a mixture of “temperaments.” Some decades after his death,when musical temperaments had been dyed in newer and, in a sense,more simple emotional colors, some doubt seemingly arose among theromantics as to exactly where and how to hold this man. His dramaticverve fell far short of the customary symphonic cataclysm, whilehis exuberance ran a course remote from the near hysteria thatthreatened some of the romantics. For reasons still quite mysteriousHaydn acquired a reputation for being both cute and a model ofthe classic manner. The first is silly, and for the second one still seeksa reasonably unambiguous meaning. What seems certain is that thepersonality of his music is complex rather than simple, and that itscomplexity lies in the fusion of widely dissimilar levels of feelingwhich, in the unity of the work of art, are discovered to be deeplyrelated. Thus in this quartet one finds, especially in the first andlast movements, high spirits compatible with true dramatic tension.One also finds, in the Largo, a slow (for Haydn, slower than usual)deliberate gravity, an inwardness deep and rich and moving. And inthe Trio to the Menuetto movement (of all out of the way places)one encounters in the phrase that closes each of its two main sectionsthat type of magnificently uninhibited emotional gesture which seemsas if borrowed from the pages of a later romantic literature. Muchin Haydn bears inevitably the impress of the 18th century; but hisrange was rich enough to encompass upon, occasion rumors ofthe future. Notes by ABRAHAM VEINUS, Syracuse UniversityAbout The ArtistsThe Griller String Quartet was founded in 1928 when the fourmembers were all students at the Royal Academy of Music in London.With their early performances they won the encouragement ofmusicians such as Vaughan Williams, Arnold Bax and Myra Hess.In 1949 they were appointed Quartet-in-Residence at the Universityof California, which permitted them to continue, their concertizing.Among the distinguished composers who have dedicated works tothe Grillers are Darius Milhaud, Ernest Bloch, Roger Sessions andArthur Bliss. LP684

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End Time: 2024-12-28T11:32:11.000Z

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