How Adaptable Was The Form Of The Classical Symphony To The Computational Aspiration Of Composers Of The Romantic Era

893 words - 4 pages

Aideen Monagle
Student no: 14409588
MU104 Music History I: 18th and 19th Centuries: Assignment 1
Write a review of a recording of the finale (4th movement) of Haydn's String
Quartet Op. 33 No. 2.
Joseph Haydn, a self-taught composer born near Vienna made his impact on the
world composing 100+ symphonies, c.80 string quartets, misc chamber and
ensemble music, piano sonatas, oratorios and operas. There are a number of
characteristics that determine the bright and unexpectedness of Haydn's work then
that of other composers. The use of unexpected modulation and key contrasts, the
use of wind instruments, mono thematic sonata form, contrapuntal textures, and
cleverly delaying and disguising of material. *Haydn's use of rondo form is present
in the finales of nos. 2,3 and 4. The rondo finales of op.33 match the light and
playful character of the entire set and follow the popular fashion for the rondo.
Haydn's
development of the string quartet op.33 no.2 , 4th movt. mirrors that of the
symphony. In the key of E flat major, it is known as "the joke", perhaps the light-
heartedness and joy of this piece would suit this title accurately. The Attacca
Quartet, formed at the Juilliard school in 2003, certainly duplicates the joy of
Haydn's original development on April 14, 2011 at Holy Trinity Lutheran Church,
New York City. The four-piece made their professional debut in 2007 as part of the
artists international winners series in Carnegie Hall's Weill Recital Hall. First prize

winners of the 7th Osaka International chamber music competition in 2011, top
prize winners and listeners 'choice award' recipients in the 2011 Melbourne
international chamber music competition and winners of the Alice Coleman grand
prize at the 60th annual Coleman chamber ensemble competition in 2006. Violinist
Amy Schroeder and Keiko Tokunaga, violist Luke Fleming and cellist Andrew Yee.
The largo, upbeat introduction into the first theme immediately sets the mood. It
begins with dramatic syncopated chords. The bright, joyful and short motifs controls
the introductory bars with a strong, steady rhythm. In this movement, the first violin
usually has the leading role, playing the main melody, completed with the viola,
cello and other violin building up the dynamic balance with a number a sharp, quick
motifs. Haydn twists the presentation by assigning the melody and bass line to a
different instrument each time and giving a countermelody on other instruments.
The brief theme is repeated again ending on a lively perfect cadence. The first few
minutes of the piece, we are immediately put at ease with the chemistry and
confidence of the performers together as they play.
A brief link passage is imitated by a build up of
forcible dynamics alternating and there is a slower tempo arising, initiated by the
cello and viola. The mood almost disappears for a second, while the cello plays a
lower, dark syncopated rhythm. The...

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