Each quartet is a unique and complex individual within a diverse community. Unusual among Haydn's quartet sets, Op. The String Quartet in f minor, Op. Probably the most frequently played of the group, it was placed first in the ordering of the Op. As such, it stands as a memorable sentinel at the portal opening unto the history of string quartet masterworks. The quartet opens with taut sonata that, typical of those in a minor key, has readily discernible components: a first theme in a minor key, a second theme in a major key, and a recapitulation that vividly recasts the second back into the dominating minor.
Haydn adds even greater clarity and impact to his dramatic transitions through a calculated use of silence; He breaks, suspends and delays the music to marvelous effect. Even in such an early quartet, Haydn crafts his sonata form with great flexibility. The recapitulation differs significantly from the exposition with a good deal of additional "development", and the movement is famous for its sizable coda in which Haydn further intensifies the grave conclusion with a daring series of key changes that prepare the hushed ending with unsettling obliqueness.
The coda's material is drawn from the once bright second theme, here brought over to the dark side and paraded as a dour trophy of conquest. As in half of the Op. A little sonata itself, it maintains the stern face of F minor until its trio brings relief with the parallel key of F major, smooth melodic contours and a noticeable lightening of texture that recalls the traditional origin of the word "trio": a trio of soloists in contrast to the full orchestra.
Haydn uses silence again, this time for a light-hearted effect that highlights the final six bars of luscious texture, a final flourish before returning to the somber minuet. Serious relief from the serious arrives with the slow movement Adagio , a wonder of refreshing charm featuring still newer textures, an exquisite aria for the first violin, a little canon for violin duo and a delightful display of one of Haydn's greatest powers: his imagination for variation.
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It was often used for opera arias or instrumental pieces featuring a simple, singing melody with a gentle lilt and clear, directly felt harmonies. The finale is the first of three in Op. He proudly featured this new approach with a systematic design. With Haydn's initial ordering, the Op. The fugue is a technique of strict contrapuntal imitation that dates back to the midth century. Culminating in the music of Bach, it subsequently fell out of favor with the new style of simplified expression that characterized the pre-Classical era.
Haydn's re-introduction of fugue added new intellectual, textural and dramatic dimensions to the music, which, along with and within the sophisticated development of sonata form defined the new era of Classical music. Piano Trios of Joseph Haydn. Saturday, March 5, at pm. Sunday, March 6, at pm. Saturday, February 20, at pm.
Sunday, February 21, at pm. Quintets of Dvorak and Brahms. The Castle Trio. Cancelled due to blizzard. Saturday, January 23, at pm. Sunday, January 24, at pm. Saturday, January 9, at pm. Sunday, January 10, at pm. Saturday, December 5, at pm. Works of J. Sunday, December 6, at pm. Saturday, November 7, at pm. Sunday, November 8, at pm. Saturday, May 16, at pm. Sunday, May 17, at pm. Saturday, April 11, at pm. Sunday, April 12, at pm.
Beethoven: Quintet in C Major, Op. Saturday, March 28, at pm.
Sunday, March 29, at pm. Beethoven: The Three Trios of Op.
Saturday, March 7, at pm. Sunday, March 8, at pm. Saturday, January 31, at pm. Sunday, February 1, at pm.
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Saturday, January 10, at pm. Sunday, January 11, at pm. Saturday, December 6, at pm. Sunday, December 7, at pm. Joseph Haydn and Andreas Lidl : Trios featuring the flute and the baryton. Saturday, November 22, at pm. Sunday, November 23, at pm. Saturday, October 11, at pm.
Sunday, October 12, at pm. Sunday, April 28, at pm. Sunday, March 24, at pm. Sunday, March 3, at pm. Smithsonian Chamber Orchestra. Sunday, January 13, at pm. Sunday, November 4, at pm. Johann Sebastian Bach: Sonatas for violin and harpsichord. Sunday, October 7, at pm. Sunday, May 6, at pm. Sunday, April 22, at pm. Sunday, March 4, at pm.
Sunday, February 5, at pm. Bach: The Goldberg Variations. Saturday, October 29, at pm. Sunday, October 30, at pm. Sunday, October 16, at pm. Sunday, May 1, at pm.
Repertoire | aron quartett
Sunday, April 17, at pm. Saturday, April 9, at am. Bach Seminar. Saturday, February 19, at pm. Rumnev and J. Tumanian for singer and piano Opus String Quartet No. Tuwim for soprano and piano Opus Three romances after V.
Sosnora, J. Vinokurov and A. Yashin for singer and piano Opus Symphony No. Kvitko, S. Galkin and M. Opus Symphony No. Tuwim for bass and piano Opus String Quartet No. Vydodski for bass and piano Opus String Quartet No.