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Franz Joseph Haydn was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the string quartet and piano trio. His contributions to musical form have led him to be called "Father of the Symphony" and "Father of the String Quartet".
The term string quartet can refer to either a type of musical composition or a group of four people who play them. Many composers from the mid-18th century onwards wrote string quartets. The associated musical ensemble consists of two violinists, a violist, and a cellist.
In musicology, the opus number is the "work number" that is assigned to a musical composition, or to a set of compositions, to indicate the chronological order of the composer's production. Opus numbers are used to distinguish among compositions with similar titles; the word is abbreviated as "Op." for a single work, or "Opp." when referring to more than one work.
Ridolfo Luigi Boccherini was an Italian composer and cellist of the Classical era whose music retained a courtly and galante style even while he matured somewhat apart from the major European musical centers. He is best known for a minuet from his String Quintet in E, Op. 11, No. 5, and the Cello Concerto in B flat major. The latter work was long known in the heavily altered version by German cellist and prolific arranger Friedrich Grützmacher, but has recently been restored to its original version.
The String Quartet No. 1 in F major, Op. 18, No. 1, was written by Ludwig van Beethoven between 1798 and 1800, published in 1801, dedicated to the Bohemian aristocrat Joseph Franz von Lobkowitz. It is actually the second string quartet that Beethoven composed.
The String Quartet No. 2 in G major, Op. 18, No. 2, was written by Ludwig van Beethoven between 1798 and 1800 and published in 1801, dedicated to Joseph Franz von Lobkowitz.
Ludwig van Beethoven is one of the most influential figures in the history of classical music. Since his lifetime, when he was "universally accepted as the greatest living composer", Beethoven's music has remained among the most performed, discussed and reviewed in the Western world. Scholarly journals are devoted to analysis of his life and work. He has been the subject of numerous biographies and monographs, and his music was the driving force behind the development of Schenkerian analysis. He is widely considered among the most important composers, and along with Bach and Mozart, his music is the most frequently recorded.
Roman Hoffstetter was a classical composer and Benedictine monk who also admired Joseph Haydn almost to the point of imitation. Hoffstetter wrote "everything that flows from Haydn's pen seems to me so beautiful and remains so imprinted on my memory that I cannot prevent myself now and again from imitating something as well as I can."
A viola concerto is a concerto contrasting a viola with another body of musical instruments such as an orchestra or chamber music ensemble. Early examples of viola concertos include Telemann's concerto in G major and several concertos by Carl Stamitz and other members of his family. The first concertante work to use the viola without caution was Mozart's violin and viola Sinfonia Concertante.
The Seven Last Words of Our Saviour on the Cross is an orchestral work by Joseph Haydn, commissioned in 1786 for the Good Friday service at Oratorio de la Santa Cueva in Cádiz, Spain. Published in 1787 and performed then in Paris, Rome, Berlin and Vienna, the composer adapted it in 1787 for string quartet, approved a version for solo piano in the same year, and finally adapted it in 1796 as an oratorio.
Johan Wikmanson was a Swedish organist and composer.
The six String Quartets, Op. 76, by Joseph Haydn were composed in 1797 or 1798 and dedicated to the Hungarian count Joseph Georg von Erdődy (1754–1824). They form the last complete set of string quartets that Haydn composed. At the time of the commission, Haydn was employed at the court of Prince Nicolaus Esterházy II and was composing the oratorio The Creation as well as Princess Maria Hermenegild Esterházy's annual mass.
The six string quartets Op. 20 by Joseph Haydn are among the works that earned Haydn the sobriquet "the father of the string quartet". The quartets are considered a milestone in the history of composition; in them, Haydn develops compositional techniques that were to define the medium for the next 200 years.
Joseph Haydn's Symphony 'A' in B♭ major, Hoboken I/107, was written between 1757 and 1760. It therefore must have been composed for Count Morzin's orchestra, for whom Haydn worked until 1761.
Joseph Haydn's String Quartets, Op. 64, is a set of six string quartets composed in 1790. Along with six earlier quartets published under the opus numbers 54 and 55, they are known as the Tost quartets, after the Hungarian violinist and later merchant Johann Tost who helped Haydn find a publisher for the works. Unlike the earlier quartets, Haydn actually dedicated the Op. 64 set to Tost in gratitude for his efforts.
The String Quartets, Op. 50, were composed by Joseph Haydn in 1787. The set of six quartets was dedicated to King Frederick William II of Prussia. For this reason the set is commonly known as the Prussian Quartets. Haydn sold the set to the Viennese firm Artaria and, without Artaria's knowledge, to the English publisher William Forster. Forster published it as Haydn's Opus 44. Haydn's autograph manuscripts for Nos. 3 to 6 of the set were discovered in Melbourne, Australia, in 1982.
Antoine Bailleux was an 18th-century Parisian violinist and music publisher, active from 1761 to 1800 or 1801.
String Quartet No. 1 in D major, Op. 25, by English composer Benjamin Britten, was written in the U.S. in 1941.
References
- 1 2 3 Badley, Alan (2002). Haydn (attrib. to Romanus Hoffstetter): String Quartets Op. 3, Nos. 3-6 (CD). Naxos Records. 8.555704.
- ↑ Grave, Floyd; Grave, Margaret G (2006). The String Quartets of Joseph Haydn. Oxford University Press. p. 19. ISBN 978-0-19-517357-4.
- ↑ Wigmore, Richard (2009). Pocket Guide: Haydn. London: Faber & Faber Limited. p. 179. ISBN 978-0-571-23412-7.
- ↑ Fruehwald, Scott (1988). Authenticity Problem's in Joseph Haydn's Early Instrumental Works: A Stylistic Investigation. New York: Pendragon Press.
