Joseph Haydn. 6 String Quartets Opus 54/55. Full Score and Parts. Ed. by Simon Rowland-Jones * Joseph Haydn. 6 String Quartets Opus 64. Full Score and Parts. Ed. by Simon Rowland-Jones

2008 ◽  
Vol 89 (4) ◽  
pp. 633-634
Author(s):  
W. Drabkin
Keyword(s):  
String Quartets ◽  
Joseph Haydn

scholarly journals quantitative study of pitch registers in string quartets opus 17, by Joseph Haydn

2021 ◽  
Vol 5 (1) ◽  
Author(s):  
Marcos da Silva Sampaio ◽  
Vicente Sanches ◽  
Matheus Travassos ◽  
Carla Castro
Keyword(s):  
Quantitative Analysis ◽  
String Quartet ◽  
Exploratory Study ◽  
Quantitative Methods ◽  
Theoretical Foundation ◽  
String Quartets ◽  
Statistical Techniques ◽  
Joseph Haydn ◽  
Methodological Framework

In this paper, we present an exploratory study of the pitch registers on the string quartets Opus 17, by Joseph Haydn, according to a quantitative approach. This subject is relevant because the pitch registers studies have revealed noteworthy issues in the Musical Analysis area, the statistical techniques help to detect musical subtleties with a small potential for bias, and because on this corpus, Haydn has established standards for the string quartet genre. The pitch registers study allowed us to identify relevant musical aspects in the repertoire, understand the role of extreme registers in the form segmentation, and observe the prominence of the development and second theme sections, and the feasibility of the quantitative methods. We present a brief theoretical foundation, the methodological framework, the results of the investigation on the quartets' instrument pitches, a discussion about these results, and the conclusions. Keywords: Pitch register, Quantitative analysis, Digital Musicology, String quartet, Joseph Haydn

scholarly journals TREATMENT OF RECAPITULATION OF THE FIRST MOVEMENTS IN THE SONATA FORM OF BEETHOVEN’S STRING QUARTETS OP. 18

2021 ◽  
pp. 105
Author(s):  
Danijela Zdravić-Mihailović
Keyword(s):  
String Quartet ◽  
Wolfgang Amadeus Mozart ◽  
String Quartets ◽  
Joseph Haydn ◽  
Sonata Form ◽  
New Treatment ◽  
Analysis Point

The paper focuses on the function of recapitulation in the sonata form relying on the example of the first movements of Beethoven's string quartets Op. 18 No. 1–6. With regard to the fact that recapitulation is commonly described as a restatement of the exposition with tonal alterations of the second theme and the closing section, analytical deliberations most often do not go beyond recording such alterations. However, some analysis point to the new role of the recapitulation exactly on account of the essence of the undertaken alterations, i.e. on account of the idea that the composer wants to accomplish at the level of sonata form through recapitulation. The research is conceived as a continuation of the previous studies (Zdravić Mihailović 2006, 2007a, 2007b, 2015a, 2015b). These studies focused on the genre of string quartet of Franz Joseph Haydn and Wolfgang Amadeus Mozart, where recapitulation was proven to be a remarkable phenomenon as its role was not merely to restate the exposition’s content with the usual tonal alterations. On the contrary, it can be a place of a new treatment of the sections of the exposition, and gives it some completely specific features.

Nicolaus Zmeskall und die Initialen „NZ“ auf einigen Abschriften von Werken J. Haydns und A. Zimmermanns

2008 ◽  
Vol 49 (1-2) ◽  
pp. 49-71
Author(s):  
Anna Schirlbauer
Keyword(s):  
High School ◽  
String Quartet ◽  
String Quartets ◽  
Joseph Haydn ◽  
Great Similarity ◽  
Violin Concerto

Several copies of works by Joseph Haydn and Anton Zimmermann, located mainly at the Gesellschaft der Musikfreunde in Vienna, have some striking features in common: almost identical calligraphic initials “NZ,” dates ranging from 1776 to 1778 on the cover pages, and great similarity in the handwriting of text and music. This handwriting was analysed by the author and compared to the surviving contemporary manuscript copies (paper, watermarks, script) of string quartets by Nicolaus Zmeskall (1759–1833), Beethoven’s friend in Vienna. Using previously unknown samples of Zmeskall’s handwriting from the period of his high school studies in Pressburg (Bratislava, Slovakia), it was possible to identify his music-copying style, and determine conclusively that his string quartet manuscripts are autographs. This study proves that the manuscript copies of the Haydn and Zimmermann works (including Haydn’s Violin Concerto in G Major and two symphonies by Zimmermann) were written out by Zmeskall, while he was living in Pressburg. This previously unknown aspect of Zmeskall’s biography is treated at length and it is suggested that this talented cellist and composer may have been in contact with Haydn much earlier than hitherto suspected.

"Er hat geschmack, und über das die größte Compositionswissenschaft"

2021 ◽  
Vol 57 (1) ◽  
pp. 2-17
Author(s):  
John Irving
Keyword(s):  
18Th Century ◽  
String Quartets ◽  
Joseph Haydn ◽  
Profound Knowledge ◽  
Compositional Technique ◽  
The Relationship ◽  
A Performance

Leopold Mozart's letter to his daughter of 16 February 1785, describing a performance of Wolfgang Amadeus Mozart's latest string quartets in the presence of Joseph Haydn claims that Haydn considered Mozart to have taste, and also a profound knowledge of composition. Contrasting interpretations of this statement are considered, including the relationship between taste and compositional technique, involving discussion of some sketches for Mozart's quartets and investigation of Haydn's statement against the background of 18th-century aesthetics.

The String Quartets of Joseph Haydn (review)

Notes ◽  
2007 ◽  
Vol 63 (4) ◽  
pp. 831-833
Author(s):  
Nancy November
Keyword(s):  
String Quartets ◽  
Joseph Haydn

AMBIGUITY IN THE STRING QUARTETS OF JOSEPH HAYDN

1950 ◽  
Vol XXXVI (4) ◽  
pp. 562-573
Author(s):  
DORIS SILBERT
Keyword(s):  
String Quartets ◽  
Joseph Haydn

Joseph Haydn

2009 ◽  
Author(s):  
Pauline D. Townsend
Keyword(s):  
Joseph Haydn
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